Brittany Kilpatrick-Furber Portfolio

Brittany Kilpatrick-Furber Final Review Portfolio BA Fashion Journalism Student ID: 04070104

Contents: Statement of Intent Link to Trendscends magazine Link to Online Fashion Journalism Portfolio FSH 313: Style Icons & Fashion Objects FSH 438: Fashion Criticism and Runway Reporting Fashion School Daily - Links to Articles Styling Portfolio Link and Examples Blogging & Social Media: Philly's Fashion Phenomena and Trendy, Classic, and Vintage Blogs

Statement of Intent: After graduation, I plan to continue writing for my blog Philly’s Fashion Phenomena. Philadelphia’s fashion industry is starting to grow and does not receive much coverage. I want to become a reliable resource for bringing more exposure to Philadelphia’s fashion industry. While I am too intimidated to take this blog and develop it to be my source of income, I will probably continue it in my spare time.

Doing so has many benefits. First, it will allow me to continue to build my network. Second, maintaining this blog will help me keep myself writing regularly and improve my skills. The experience will also allow me to gain more knowledge about the area.

However, I want to focus primarily on pitching stories to publications local and otherwise. Publications that I would like to pitch articles to include Philadelphia Style, Philadelphia Inquirer, and Philadelphia Magazine. I will also investigate publications based in New Jersey and other states.

Finally, I also want to continue my education in some way. I first want to complete courses through the Business of Fashion that center around styling, fashion history, and business. Then I want to return to the Academy of Art University to receive a BA in Styling. In addition to fashion writing, I have found that I also really enjoy personal styling, and I want to explore it more. Overall, I want to develop a skill set that is not limited to one area of the fashion industry so that I have more to offer as a professional.

Fashion Journalism

Final Project: Trendscends Magazine

Link: https://issuu.com/trendscendsmagazine/docs/final_kilpatrick_14_1_cmyk_trendscends_magazine

Model Image by Chase Raube Boyer; Countertop by Joey Kyber/Pexels ; Checker tile by PublicDomainPictures/Pixabay Styled by Brittany Kilpatrick-Furber

Online Fashion Journalism Portfolio: https://bkilpatr2.wixsite.com/fashionjournalism

Fashion Sketch by mohamed_hassan/ Pixabay

FSH 313: Style Icons & Fashion Objects Professor Diane Dorrans Saeks

Image by Godisable Jacob / Pexels.com

A BLAH SOLE BECOMES A RED TREASURE Louboutin Took Something Mundane and Gave it a Trademarked Works Cited: Makeover French shoe designer Christian Louboutin has captured the eyes of many with his red soles. As identifiable as any initialed logo, Louboutin managed to take a detail that was long disregarded and make it striking and refreshingly imperfect. While visually appealing and lively, the red on the soles rubs off with use, showing that the wearer has truly resided in them.

The quickly distinguishable appearance of his shoes allows observers to know where to purchase similar styles without ever needing to see the inside label. As a result, he has a better opportunity for selling the product, beyond the store experience, compared with other shoe brands that lack a unique sole.

As a result of Christian Louboutin being under private ownership, he can experiment more freely with the concepts for his shoes. He has also been able to expand and use his trademark shade on handbags, lipstick, nail polish, and baby shoes with Goop. His clientele includes Madonna and Carline de Monaco, just to detail a few.

Louboutin’s designs range from simplistic and classic standard pumps to wild and bold a shoe that emulates the look of a handbag. The high-heeled pointe shoe, “The Ballerina Ultima,” is very titillating. For those who have ever been on pointe, it is well-known that getting on your toes takes a great deal of practice, including funky exercises such as “duck walks,” which look as weird as its name implies. Is the shoe constructed like a pointe shoe on the inside?

Does the heel allow one to stand on their toes? Can anyone actually walk in these? Who knows!

As with all iconic items, Louboutin shoes have positive and negative connotations. Usually, Louboutins have a high price tag, so when people see them, they assume that the wearer is materialistic. However, they may not know that they were a consignment purchase.

Works Cited: Abel, Katie. “Christian Louboutin Expands His Popular Nudes Collection Into CrystalAdorned Evening Shoes, Footwear News, Penske Business Media, 22 May 2017, Academy of Art University, “FSH 313-OL1: Style Icons & Fashion Objects, Module 2: Anatomy of Fashion Imagery.” Online. 13 Sept., 2017.

Allaire, Christian, “ Christian Louboutin on Why Tough Times Call for Extraordinary Shoes,” Footwear News, Penske Business Media, 22 May 2017, http://footwearnews.com/2017/business/designers/christian-louboutin-fall-2017interview-shoes-356834/. Accessed 28 Sept., 2017 Allaire, Christian, “Christian Louboutin Gets Candid on 25 Years in Business,” Footwear News, Penske Business Media, 29 Sept, 2017. http://footwearnews.com/2017/runway/spring-2018/spring-2018-christianlouboutin-paris-fashion-week436580/http://footwearnews.com/2017/business/designers/christian-louboutincareer-fn-ceo-summit-360301/. Accessed 28 Sept, 2017. Accessed 29 Sept., 2017 Alford, Holly Price and Stegemeyer, Anne. Who’s Who in Fashion, 6th ed. New York and London: Fairchild Books, 2014, Print.

Biography.com Editors, “Christian Louboutin Biography.com,” Biography, A&E Networks, 2 Apr., 2017, https://www.biography.com/people/christian-louboutin21105389. Accessed 27 Sept., 2017.

Business of Fashion Editors, “Christian Louboutin,” BusinessofFashion.com, 2017, https://www.businessoffashion.com/community/people/christian-louboutin.

Accessed 27 Sept., 2017.

Callan, Georgina. The Thames & Hudson Dictionary of Fashion and Fashion Designers, 2nd ed. New York: Thames & Hudson, 2008. Print.

“Christian Louboutin.” Vogue Paris, Conde Nast, 24 Nov. 2015, http://en.vogue.fr/vogue-list/thevoguelist/christian-louboutin/1040. Accessed 27 Sept., 2017.

Clarke, Erin. “Check Out Christian Louboutin’s Very First Baby Shoes for Goop,” Footwear News, Penske Media, 20 Sept. 2017, http://footwearnews.com/2017/focus/children/christian-louboutin-baby-shoesloubibaby-goop-428203/, Accessed 27 Sept. 2017.

Works Cited: Collins,, Lauren. “Solemate.” The New Yorker, Conde Nast, 28 Mar. 2011, https://www.newyorker.com/magazine/2011/03/28/sole-mate. Accessed 27 Sept., 2017.

Feitelberg, Rosemary. “Christian Louboutin on His Roundabout Route to Shoe Design,” WWD, Penske Media, 18 May 2017, http://wwd.com/eye/people/christian-louboutinon-his-roundabout-route-to-shoe-design-10890262/. Accessed 28 Sept., 2017.

Friedman, Vanessa. “In the Studio with Christian Louboutin,” The New York Times, 30 Sept. 2016, https://www.nytimes.com/2016/10/02/fashion/in-the-studio-withchristian-louboutin-paris-fashion-week.html?mcubz=0. Accessed 28 Sept. 2017.

Grace, Nia. “The Craziest Shoes Christian Louboutin Has Ever Created,” Footwear News, Penske Media, 1 June 2017, http://footwearnews.com/2017/fashion/designers/crazy-christian-louboutin-shoesthrough-the-years-363090/. Accessed 27 Sept. 2017.

Hum, Marion. “Christian Louboutin on Shoes, Lipstick, and the Freedom to Dream,” The Australian Financial Review, Fairfax Media, 20 Aug, 2015, http://www.afr.com/lifestyle/fashion/christian-louboutin-on-shoes-lipstick-and-thefreedom-to-dream-20150709-gi8c6h, Accessed 28 Sept. 2017.

“Michael Atmore+ Christian Louboutin- FN CEO Summit.” YouTube uploaded by WWD. 31 May 2017. https://www.youtube.com/watch? v=KCuE0DBA_9I&t=886s&list=PLS0xqeE56LUD2eveyOCBVwkvc3oXbt0Xr&index=5 “An Audience with Christian Louboutin: Full-length Video- Net-A-Porter.” YouTube uploaded by Net-A-Porter, 25 Nov. 2011. https://www.youtube.com/watch?v=wpLa6f5fxE&list=PLS0xqeE56LUD2eveyOCBVwkvc3oXbt0Xr&index=2 “Christian Louboutin Interview-Net-A-Porter.” YouTube uploaded by Net-A-Porter, 13 Nov. 2009. https://www.youtube.com/watch? v=kpvBitlFx1M&index=3&list=PLS0xqeE56LUD2eveyOCBVwkvc3oXbt0Xr “Christian Louboutin at the Vogue Festival 2015 – British Vogue.” YouTube uploaded

by British Vogue, 30 Apr. 2015. https://www.youtube.com/watch? v=iW1uNEcNBMU&list=PLS0xqeE56LUD2eveyOCBVwkvc3oXbt0Xr&index=4.

“Frost Over the World – Christian Louboutin and Martin McGuiness.” YouTube uploaded by Al Jazeera English, 5 May 2012. https://www.youtube.com/watch? v=dhB7xX8M_I4&t=48s&list=PLS0xqeE56LUD2eveyOCBVwkvc3oXbt0Xr&index=1

THE RAW INTRIGUE OF KATE MOSS Individuality and Mystification are the Keys to Kate Moss’s Success.

In every field imaginable, there is a small group key of players who by their nonchalance, have an indescribable pizzazz to them. No amount of exertion can reproduce this appeal because it is not contrived. Their charm isn’t a talent per se but rather a unique inaccessible, and unearthly characteristic, as detailed by media manager Christian Boros. In the modeling world, Kate Moss is the epitome of the French phrase, “Je Ne Sais Quoi.” What made her fascinating simultaneously made her a controversial figure.

Her appearance was raw, “…natural…” and what was described as the “…waif look….” Her figure encapsulated the concept of ‘“heroin chic” due to her extremely slender appearance. At the age of 14, she signed a modeling contract with Storm Model Management. The accomplishments that would follow include landing her first cover for British Vogue, being featured in The Face, and working alongside John Galliano and countless successful photographers such as Peter Lindbergh. She, most notably, was the star of Calvin Klein’s Obsession perfume advertisements.

She has received awards from the Council of Fashion Designers of America and British Fashion Awards and has been present on over 300 covers. She has released products, liaised with companies such as Topshop, and inaugurated a modeling agency.

Despite her popularity, Moss has received criticism for her emaciated frame.

Additionally, she has struggled with drugs and alcohol. In 2005, a compromising image of Moss appeared, and it seemed to confirm her rumored lifestyle. In response, she lost some work opportunities for a while.

However, her figure also made her popular, and she has since been rehabilitated.

She has a quality that mystifies many, remains undefined, and gives her a continuous appeal. Additionally, she is known for her unique approach to styling, mixing the most expensive with the inexpensive and constantly reinterpreting her look.

Works Cited: The Business of Fashion Editors, “Kate Moss: Biography.” 2017. The Business of Fashion, https://www.businessoffashion.com/community/people/kate-moss.

Accessed 5 Nov. 2017.

Biography.com Editors, “Kate Moss Biography.com.” 7 July 2016. Biography, A&E Television Networks, http://www.biography.com/people/kate-moss201298.Accessed 31 Oct. 2017.

“Docs: Kate Moss: Queen of the Catwalk.” YouTube, uploaded by Barcroft TV, 26 March 2015, https://www.youtube.com/watch?v=TiEgyTzR5hM&t=90s, Accessed 5 Nov. 2017.

Callahan, Maureen. “A ‘Common Bitch’ Who Made It: The Story of Kate Moss and Corinne Day.” 30 Sept. 2014, https://jezebel.com/a-common-bitch-who-made-itthe-story-of-kate-moss-and-1640441434. Accessed 31 Oct. 2017.

Amed, Imran. “Kate Moss Inc: how the World’s Most Famous Supermodel Is Building a Business of her Own.” 19 Sept. 2016, https://www.businessoffashion.com/articles/bof-exclusive/kate-moss-agencybrand-supermodel-business. Accessed 31 Oct. 2017.

Amed, Imran. “Kate Moss Inc: how the World’s Most Famous Supermodel Is Building a Business of her Own.” 6 Oct. 2016, https://www.businessoffashion.com/articles/people/supermodel-kate-mosslaunches-own-business. Accessed 31 Oct. 2017.

BEAUTY AND IDENTITY REDEFINED The Fashion is Gradually Embracing a Broader Definition of Individuality.

Recently there has been an aspiration to broaden the definitions of beauty and identity. For example, models with unique figures and ethnicities shared Vogue’s March 2017 cover. While progress has been gradual, a few conscientious brands are starting to venture beyond stereotypical vanity.

Net-a-Porter’s fall 2017 advertisement also included a distinct group of women with unique physical traits. Despite their individuality, their adornment suggests a common goal, to be successful. The display of these models as a group reflects today’s desire for harmony and variety in a competitive society.

An image from the HUGO campaign displays two models embracing, with hair disguising their faces. Their genders, as their clothing conveys, are indecipherable, which seems to be the advertisement’s intent. The image hints at “gender fluidity,” a contemporary subject.

Missoni’s advertisement campaign seems to portray a woman’s multidimensionality. She can be beautiful in many ways by feeling sexy, intelligent, and possessing a sense of humor. A woman does not need to limit herself.

She can be a serious professional, a fun spirit, and a woman of sexual appeal and desire. Overall, this campaign reflects a woman’s desire to be able to live unrestrained.

Works Cited: Inez and Vinoodh. Vogue Cover March 2017. 2017, Vogue, New York, Popsugar, Popsugar, https://www.popsugar.com/fashion/Vogue-Model-Cover-March-201743136226. Accessed 5 Nov. 2017.

Harris, Gregory. Net-a-Porter Fall 2017 Ad Campaign. 2017, Net-a-Porter, London, Fashionista. Breaking News Media, https://fashionista.com/2017/05/fall-2017-adcampaigns#&gid=ci020efc8e100024cd&pid=press-logo1. Accessed 5 Nov. 2017.

Weir, Harley. Gigi Hadid for Missoni Fall 2017 ad campaign (11). 2017, Missoni, Milan, Fashionista. Breaking News Media, https://fashionista.com/2017/05/fall-2017-adcampaigns#&gid=ci020efc8e100024cd&pid=11-missoni-fall-2017-ad-campaign.

Accessed 5 Nov. 2017.

Weir, Harley. Gigi Hadid for Missoni Fall 2017 ad campaign (10). 2017, Missoni, Milan, Fashionista. Breaking News Media, https://fashionista.com/2017/05/fall-2017-adcampaigns#&gid=ci020efc8e100024cd&pid=10-missoni-fall-2017-ad-campaign.

Accessed 5 Nov. 2017.

Weir, Harley. Gigi Hadid for Missoni Fall 2017 ad campaign (7). 2017, Missoni, Milan, Fashionista. Breaking News Media, https://fashionista.com/2017/05/fall-2017-adcampaigns#&gid=ci020efc8e100024cd&pid=7-missoni-fall-2017-ad-campaign.

Accessed 5 Nov. 2017.

Weir, Harley. HUGO Fall 2017 ad campaign (8). 2017, Hugo Boss, Metzingen, Fashionista. Breaking News Media, https://fashionista.com/2017/05/fall-2017-adcampaigns#&gid=ci020efc8e100024cd&pid=01_hugo_fw17_campaign_olan_prena tt, Accessed 5 Nov. 2017 Booker, Lauren. “What it Means to be Gender-Fluid.” 13 April, 2013, Cable News Network (CNN),http://www.cnn.com/2016/04/13/living/gender-fluid-feat/index.html, Accessed 5 Nov. 2017.

“About HUGO BOSS: Group Profile.” N.d., HUGO BOSS, http://group.hugoboss.com/en/group/about-hugo-boss/group-profile/, Accessed 5 Nov. 2017.

JESSICA SIMPSON: AN UNLIKELY, UNDERESTIMATED, AND UNCONVENTIONAL FASHION FIGURE Once Known as a Stereotypical Dumb Blonde, Simpson has Since Proved that “Blondes Have More Fun” and Much More Under the Surface.

“Most celebrity brands flame out fast. Proving skeptics wrong, Jessica Simpson has survived ten years and has ambitious expansion plans for her second decade,” detailed Vicki M. Young in Women’s Wear Daily, published in August 2015. While far from being couture or high-end ready-to-wear, the singer’s foray into fashion is successful in its own way. The Jessica Simpson Collection began as a line of shoes and then expanded to become a billiondollar brand, and her fashion presence seemingly eclipsed her achievements in music.

Many consumers find her brand to be approachable. As Anna Wintour explains in The September Issue, many people disregard fashion because they feel debarred; in some way. Simpson’s brand connects to consumers who might otherwise feel uninvited to a fashion arena due to their size, status, and lifestyle.

Her products are available at various price points, lifestyles, and sizes, which leads to brand accessibility. She works alongside her mother Tina to create collections that suit a variety of age groups, from children to tweens, teens, and adults. The brand also produces maternity and active apparel lines.

Simpson detailed that one of the keys to her success was reaching “…beyond L.A. and New York…” and being able to relate to consumers from “… Middle America…”.

Ranya Barrett from Glamour describes Simpson’s style as “…equal parts laidback cool and chic glamour….” Simpson can be spotted in cocktail dresses, flowy dresses and jumpsuits, cut-offs, and tailored blazers.

According to People Style, her fall collection featured a “…rock n’ roll edge.”

Overall, Simpson feels that her brand tends to draw from her southern side.

What separates her collection from other celebrity brands? According to Simpson, “…Everybody doesn’t want to just look like the celebrity… They just want an element of that style,” and that’s what she offers.

Works Cited: Barrett, Ranya. “Jessica Simpson’s Sexiest Style Moments.” Glamour, Condé Nast, September 2009, https://www.glamour.com/gallery/jessica-simpsons-sexieststyle-moments. Accessed 15 Nov. 2017.

Kirkpatrick, Emily. “Jessica Simpson Credits Her Fluctuating Weight for the Success of Her Clothing Line.” People Style, Time, 19 May 2017, http://people.com/style/jessica-simpson-fluctuating-weight-clothing-line-success/, Accessed 15 Nov. 2017.

Kratofil, Colleen. “Go Behind the Scenes of Jessica Simpson’s ‘“Kaleidoscopic”’ Fall Campaign.” People Style, Time, 28 Sept. 2017, http://people.com/style/jessicasimpson-modeling-behind-the-scenes/. Accessed 15 Nov. 2017.

Lawler, Kelly. “Jessica Simpson Explains Why Her Fashion Line is Size-Inclusive.” USA Today, 18 May, 2017https://www.usatoday.com/story/life/entertainthis/2017/05/18/jessicasimpson-explains-why-her-fashion-line-size-inclusive/101826672/, Accessed 15 Nov. 2017.

Young, Vicki M. and Naughton, Julie. “ After 10.” Women’s Wear Daily (WWD), Penske Media Corporation, 2015 Aug. (No.3), pp. 9-13.

The September Issue. Directed by R.J. Cutler, performances by Anna Wintour, André Leon Talley, and Grace Coddington, A&E IndieFilms, 2009.

Image Citations and Images Referenced: Macari, James. Jessica Simpson fall ad campaign. 2017, James Macari and Jessica Simpson Collection, no city listed, People, Time Inc, http://people.com/style/jessicasimpson-modeling-behind-the-scenes/. Accessed 15 Nov. 2017.

Jessica Simpson. n.d., Claudia (Jessica Simpson Style), no city listed, Pinterest,https://www.pinterest.com/pin/495184921499637757/. Accessed 15 Nov. 2017.

Jessica Simpson (Jumpsuit). 2016, People, no city listed, Pinterest, https://www.pinterest.com/pin/113434484343580311/. Accessed 15 Nov. 2017.

Works Cited: Image Citations and Images Referenced: Jessica Simpson, n.d., Palace of the Fashionista, no city listed, Palace of the Fashionista, Tumblr, https://www.pinterest.com/pin/80572280806379844/.

Accessed 15 Nov. 2017.

Krieger, David and Bauer-Griffin. Jessica Simpson, Getty Images, no city listed, E! Online, E! Entertainment Television, https://www.pinterest.com/pin/370210031850442683/. Accessed 15 Nov. 2017.

THE “NEW LOOK” MAY CHANGE OVER TIME, BUT DIOR CONTINUES TO ENDURE Through the Course of the Brand’s 70 years and Beyond, the Focus Remains On Its Key Ingredient…Women

Photo by John Cameron on Unsplash

“In the past, fashion imposed its point of view on women, but the new generation sees it as a way to express themselves. They want to use clothes as a means of freedom with no rules…” stated Maria Grazia Chiuri, the current designer for Dior, regarding the brand’s ever-changing customers, in InStyle magazine. When taking in the aesthetics from her first collection at Dior for the Spring 2017 ready-to-wear season and comparing them to Christian Dior’s first compilation under his name, one may not easily see a connection.

However, Dior’s “New Look,” Grazia Chiuri’s modern feminist vision, and the accomplishments of the designers in between have one thing in common. All have aimed to meet the needs and desires of the women in their respective eras. Overall, Dior’s iconic status as a lasting fashion house is due to its designs, achievements, recognition, designers, famous clients, and presence in film, photography, and on the red carpet.

Christian Dior’s first collection entitled “Corolle,” ultimately dubbed the “New Look,” served as a return to ladylike dressing. “The Bar Suit,” a well-known look from this collection, consisted of a wide pleated and layered skirt and jacket with curved shoulders and hourglass shape, topped with a wide-brimmed hat. These characteristics were present throughout the collection. Dior’s looks focus on the curvatures of the female body, with cinched-in waists, round instead of square shoulders, and at times pencil skirts.

His designs were embraced by those desiring a return to elegance and copious use of fabrics after the stringent limits on their use during World War II. More frugal types did not appreciate his unrestrained collection.

Dior’s accomplishments during his short time at his fashion house, only ten years due to his sudden death, included awards and recognition from the film industry, a renowned fashion photographer, and royalty. He received a “fashion Oscar” award from Neiman Marcus in 1947, and “…the French Legion of Honor award for his role in the fashion and textile industry,” as detailed in WWD. Additionally, his clothes were utilized by the film industry, in the film “Stage Fright”’ by Alfred Hitchcock, starring Marlene Dietrich. In 1954, he would go on to present a collection to British Royalty, which helped him obtain valuable clientele. The presence of Dior’s design in a highly regarded fashion image, entitled “Dovima with Elephants,” by Richard Avedon, also added to his notoriety.

Yves Saint Laurent took over designing for the brand, after Dior’s passing in 1957. He introduced an alternative silhouette to the brand in his Trapeze collection. According to Harper’s Bazaar, the silhouette consisted of, “…a narrow shoulder, high waist, and flared skirt--- made him an overnight sensation.” However, as established by The Business of Fashion, Saint Laurent was pushed out, due to his later collections that did not suit the mature Dior customers.

Marc Bohan supplanted Yves Saint Laurent in 1960. According to Inside Dior, during Bohan’s tenure at Dior, he steered away from the brand’s typical tailored and corseted look. Instead, he gave the garments so ease which made them easier to move around in. Tortora and Marcketti note that Bohan was known for his “High-quality workmanship and ‘“refined and romantic clothes.”’ Bohan designed garments for Elizabeth Taylor, Sophia Loren, Princess Grace, and Marilyn Monroe. He would go on to receive “the Golden Thimble” in 1983.

Gianfranco Ferré succeeded Bohan in 1989. Ferré was renowned for his tailoring ability and accessory designs. However, according to Suzy Menkes in Inside Dior, his Italian aesthetic did not fit the French brand. Despite skepticism Ferré, like Bohan, was recognized with “…the Golden Thimble…” award for “…his first fall haute couture collection” during the first year of his time at the brand.

John Galliano was the next in line at Dior. His designs were seen on Princess Diana during the 1996 Met Gala and on Nicole Kidman when she attended that year’s Oscar award ceremony. Galliano’s aesthetics reflected on the past, took inspiration from the art world, and interjected theatrics into his collections. However, his work was subject to controversy when critics felt that he glamourized poverty. Galliano would eventually be forced to leave Dior and experience career troubles after his inebriated anti-semitic commentary.

Raff Simons, who took the lead in 2012, revisited “The Bar Suit” for the fall haute couture collection, swapping the pleated skirt for tapered pants, seen in Dior and I. On Vogue.com, Tim Blanks remarked that although his previous collection for Jill Sander seemed influenced by Dior’s “…guiding spirit and fascination with mid-century couture… he approached an actual couture collection with an appropriate balance of reverence and iconoclasm.”

Maria Grazia Chiuri’s arrival at Dior in 2016 was a widely buzzed-about topic, given her status as the first female to ever do so. Her position was carried into her first collection by its focus on feminism. She mixed skirts with fencinginspired attire, which seems to signify that a woman can simultaneously be pretty, edgy, feminine, and strong. Grazia Chiuri’s ‘“We Should All Be Feminists”’ t-shirts were a widely discussed item, signifying the sociological currents of today. Despite the monetary success, fashion journalists such as Vannessa Friedman, Tim Blanks, and Cathy Hoyrn are skeptical of Grazia Chiuri’s vision feeling that it lacks innovation, and tries too hard to reach the millennial generation, and is incongruous with the brand.

Like other brands, Dior has gone through a revolution during its over 70 years in business. Dior’s legacy includes iconic designs, designers, clientele, red carpet looks, and memorable achievements, which fashion history books and magazines encapsulate. Although the “New Look” inevitably ceases to be “New,” as Inside Dior suggests, the original idea gets reinterpreted to become what is a fresh look at the era. Dior’s unwavering focus on women has shifted from uplifting their spirits after the war to encouraging their growth and recognition today. The Dior woman today is less demure than her precursor and aims to achieve success in all areas of her life. The brand’s ability to adapt to the Dior woman allows it to endure.

Works Cited: Tortora, Phyllis G. and Sara B. Marcketti. Survey of Historic Costume. 6th ed. New York: Fairchild, 2015. Print.

Fury, Alexander. “1989.” Christian Dior: Designer of Dreams, edited by Florence Müller and Olivier Gabet, Thames & Hudson, 2017. ** Gautier, Jérôme. “Dior in the Press.” Christian Dior: Designer of Dreams, edited by Florence Müller and Olivier Gabet, Thames & Hudson, 2017, 31-40.

Christian Dior: Designer of Dreams, edited by Florence Müller and Olivier Gabet, Thames & Hudson, 2017 Alford, Holly Price, and Anne Stegemeyer. Who’s Who in Fashion. 6th Ed. New York and London: Fairchild, 2014. Print.

Tortora, Phyllis, and Sandra Keiser. The Fairchild Books Dictionary of Fashion. 4th ed.

New York: Bloomsbury, 2014. Print.

Dior and I. Directed by Frederic Tcheng. Performance by Raff Simons, CIM Productions, 2014.

Michael Waldman, Director. Inside Dior, Channel 4, 2017.

Christian Dior: The Man Behind the Myth. Directed by Philippe Lanfranchi.

Performances by Jacques Gamblin and Ingrid Sophie Schram, 2005.

Four Seasons with Dior. Directed by Audrey Parfair, Performance by Maria Grazia Chiuri , Indigenius, 2017.

Wilson, Eric. “My Day: Maria Grazia Chiuri,” InStyle, Time Inc., November 2017, pp. 9091.

Harper’s Bazaar Editors. “Dior’s Greatest Moments,” Harper’s Bazaar, Hearst, March 2017.** Picardie, Justine. “Dior’s New Guard,” Harper’s Bazaar, Hearst, March 2017. pp. 410-417 .Callan, Georgina. The Thames & Hudson Dictionary of Fashion and Fashion Designers. 2nd ed. New York: Thames & Hudson, 2008. Print.

Works Cited: McDowell, Colin. “Education: Christian Dior (1905-1957).” The Business of Fashion, 23 Nov. 2015, https://www.businessoffashion.com/articles/education/christian-dior1905-1957, Accessed 5 Dec. 2017.

BOF Team. “Making Sense of The Dior Gap.” The Business of Fashion, 6 Oct. 2017, https://www.businessoffashion.com/articles/this-week-in-fashion/making-senseof-the-dior-gap, Accessed 6 Dec. 2017.

McDowell, Colin. “Education: Yves Saint Laurent (1936-2008).” The Business of Fashion, 21 Aug. 2015, https://www.businessoffashion.com/articles/education/yvessaint-laurent-1936-2008-2, Accessed 5 Dec. 2017.

Diderich, Joelle. “Dior Milestone: Material Girl.” WWD, Penske Media Corporation, 26 Sept. 2017, http://wwd.com/fashion-news/designer-luxury/dior-milestone-mariagrazia-chiuri-feminist-10992432/, Accessed 6 Dec. 2017.

Spencer, Mimosa. “Dior Milestone: A Look Back.” WWD, Penske Media Corporation, 26 Sept. 2017, http://wwd.com/fashion-news/designer-luxury/dior-milestone-timelinechristian-dior-bernard-arnault-maria-grazia-chiuri-10994970/,Accessed 6 Dec. 2017.

Blanks, Tim. “Fall 2012 Couture Christian Dior.” Vogue, Condé Nast, 1 July 2012, https://www.vogue.com/fashion-shows/fall-2012-couture/christian-dior, Accessed 10 Dec. 2017.

Mower, Sarah. “Spring 2017 Ready-to-Wear Christian Dior.” Vogue, Condé Nast, 30 Sept. 2016, https://www.vogue.com/fashion-shows/spring-2017-ready-towear/christian-dior, Accessed 10 Dec. 2017.

WWD Staff. “Christian Dior Haute Couture: A Retrospective.” WWD, Penske Media Corporation, 25 Jan. 2016, http://wwd.com/fashion-news/fashion-features/christiandior-haute-couture-retrospective-john-galliano-raf-simons-10328785/, Accessed 10 Dec. 2017.

Note: ** Pages without Numbers.

Works Cited: Image Citations and Referenced: Galella, Ron. Nicole Kidman at Oscars 1996, 1996, Wire Image, no city listed, Pinterest, https://www.pinterest.com/pin/555772410258963073/.

Hussein, Anwar. Met Gala 1996: Princess Diana, 1996, Getty Images, no city listed, Pinterest, https://www.pinterest.com/pin/555772410258963070/.

The VivaLuxury blogger in “Dio(r)evolution” T-shirt. 2017, VivaLuxury, no city listed, Pinterest, https://www.pinterest.com/pin/555772410258958545/.

“Nadege in Dior Couture by Gianfranco Ferré.” 1992.

FrouFrouFashionista.Tumblr.com, No city listed, Pinterest, https://www.pinterest.com/pin/555772410258932991/.

“Bustown Modern: Marc Bohan + Christian Dior, “ 1963.

Bustownmodern.blogspot.com, No city Listed, Pinterest, https://www.pinterest.com/pin/555772410258933274/.

“John Galliano for Christian Dior Spring Summer 2010 Haute Couture.” 2010.

68.media.tumblr.com, no city listed, Pinterest, https://www.pinterest.com/pin/555772410258933058/.

Yves Saint Laurent on a magazine cover while at Dior. N.d. static.mediapart.fr, no city listed, Pinterest, https://www.pinterest.com/pin/555772410258932746/.

“We Should All Be Feminists.” 2016. House and City Not Listed, Pinterest, https://www.pinterest.com/pin/555772410258932706/.

Dior “Haute Couture”. 2012. WordPress, no city listed, Pinterest, https://www.pinterest.com/pin/555772410258932741/.

“Christian Dior Fall 2012 Couture.” 2012. Toyastales.blogspot.com, no city listed, Pinterest, https://www.pinterest.com/pin/555772410258932725/.

“The New Look.” 1947. British Vogue, London, Pinterest, https://www.pinterest.com/pin/555772410258932692/.

FSH 438: Fashion Criticism and Runway Reporting Professor Diane Dorrans Saeks

Image by StockSnap / Pixabay.com

NYFW REVIEW- SPRING 2020: VIBRANT TROPICAL SOPHISTICATION This season Mark Badgley and James Mischka have designed vacation attire for walking on a beach and attending soirées.

As the lights hit the runway at Badgley Mischka’s Spring 2020 ready-to-wear collection, models glided through a white lace lattice entrance with scroll motifs, that had white volute-kraters, depicted and described by the Classical Art Research Centre, on either side, containing white palm trees. The set’s coral-hued lighting, at its entrance and runway, was its only color source. The nearly monochrome set was a stark contrast to the collection’s vibrant and historically referential sophisticated garments.

In terms of motifs, the collection makes wide use of palm leaves and tropical florals, as to be expected for a spring and summer collection. Colors highlighted in these prints included poppy red, teal, robin’s egg blue, coral, and olive green. The collection also used lavender, red-violet, peach, pink rose, various green hues, cobalt blue, indigo, Spanish orange, and lemon yellow.

Apart from its vibrancy, the collection’s aesthetics were a mixture of the 1970s and 1980s. One nod to the 1970s, discussed in The History of Modern Fashion, was demonstrated in the collection’s incorporation of wrap dresses. References to the “...peasant...” looks of the late 1970s, and 1980s focus on extreme proportions, detailed in The History of Modern Fashion, were seen in the collection’s billowing Juliet, bishop, and puffed sleeves, as depicted in Illustrating Fashion: Concept to Creation.

According to Dennita Sewell, in Badgley Mischka: American Glamour, the brand is known for its “...embellished...evening gowns....” However, the brand has expanded its repertoire to include diverse options, for multiple occasions, and times of day, according to Who’s Who in Fashion. The spring collection maintains these qualities, as it presented a balance of informal garments, such as shirt dresses, and formal attire demonstrated in sequined gowns. The daytime looks primarily focus on prints, and the evening looks explore more ornamentation, such as beading and floral appliqués.

Overall, Badgley Mischka presented a vibrant sophisticated collection for diverse occasions. However, most importantly, according to Mark Badgley, quoted by Reuters, “‘The factories...,” the company utilizes, “...are no-waste manufacturing plants, where everything is recycled.’” As demonstrated in this collection, fashion can be luxurious and responsible simultaneously.

Works Cited: Alford, Holly Price and Anne Stegemeyer. Who’s Who In Fashion. 6th ed. London and New York: Fairchild Books and Bloomsbury, 2014.

“Badgley Mischka Spring 2020.” YouTube, uploaded by Badgley Mischka, 13 Sept.

2019, https://youtu.be/W6DA-GD9zPE, 3 Nov. 2019.

Classical Art Research Centre at the University of Oxford Editors. “Volute-krater.”

Classical Art Research Centre, Classical Art Research Centre at the University of Oxford, n.d., https://www.beazley.ox.ac.uk/tools/pottery/shapes/volute.htm, Accessed 3 Nov. 2019.

Cole, Daniel James and Nancy Deihl. The History of Modern Fashion. London: Laurence King, 2015.

Reuters. “From Recycled Leather to Natural Dyes, Fashion Tries to Limit Environmental Damage.” The Business of Fashion, 19 September 2019, https://www.businessoffashion.com/articles/news-analysis/from-recycled- leatherto-natural-dyes-fashion-tries-to-limit-environmental-damage, Accessed 4 Nov. 2019.

Sewell, Dennita. Introduction. Badgley Mischka: American Glamour. By Mark Badgley and James Mischka, New York: Rizzoli, 2015. pp.17.

Stipelman, Steven. Illustrating Fashion: Concept to Creation. 3rd ed., New York: Fairchild Books, 2011.

Video Citation: “Badgley Mischka Spring 2020.” YouTube, uploaded by Badgley Mischka, 13 Sept.

2019, https://youtu.be/W6DA-GD9zPE, 3 Nov. 2019.

LFW REVIEW - SPRING 2020: EMILIA WICKSTEAD: A REBEL WITH A CAUSE Subtle textures and little use of embellishment allow these formal garments to be timeless and adaptable Emilia Wickstead’s continuous objective is to have women enjoy dressing more formally again and be invested in the process of pulling together a look, as detailed by Wickstead in an interview with Amy De Klerk of Harper’s Bazaar U.K.. Wickstead’s pieces are meant to withstand use and feature a keen focus on design attributes that allow for such enjoyment, as detailed by The Business of Fashion and Wickstead in an interview with Luxe: Responsible Luxury. The Spring 2020 ready-to-wear collection continues building on these overarching objectives and tendencies.

The collection focuses on unadorned silhouettes, consistent with recurring brand aesthetics noted by Katie Rosseinsky of GraziaDaily.co.uk, with the exception of a few lightly embellished examples. Instead, the collection plays on texture, with many of the collection’s fabrics having the appearance of finely crushed paper or three-dimensional dots ingrained in their surface. The collection also featured both opaque and sheer fabrications.

The collection silhouettes vary, some are tailored, while others make use of draping.

These silhouettes often experiment with extreme proportions demonstrated in flared pants, puff sleeves, a circular petal sleeve hybrid, as depicted in Illustrating Fashion: Concept to Creation, and a bubble dress, illustrated in The Fairchild Books Dictionary of Fashion.

The collection’s vibrant palette consisted of colors such as pale violet, canary yellow, aqua, crimson red, baby blue, and lemon yellow. Teal, pink, and black were colors utilized in gingham prints.

Some recurring design details, from this collection, include keyhole necklines, depicted in Illustrating Fashion: Concept to Creation, and cutouts. These features helped to modernize and prevented these garments from being considered too matronly.

Overall, Wickstead has maintained her brand’s sought-after aesthetics. Wickstead also managed to keep the garments from being attached to a time period, another objective she discussed in Luxe: Responsible Luxury. As a result, these garments will be less disposable, and more in line with the industry’s concern over sustainability.

Works Cited: Alessandro, Lucioni (Photographer). Emilia Wickstead Runway Collection, Spring 2020 Ready-to-Wear, London, Looks 1-36, https://www.vogue.com/fashion- shows/spring-2020ready-to-wear/emilia-wickstead/slideshow/collection#1, Accessed 9 Nov. 2019.

De Klerk, Amy. “Emilia Wickstead on her Love of Dressing up and What Makes LFW so Special.” Harper’s Bazaar U.K, Hearst UK Fashion & Beauty Network , 17 Sept. 2018, https://www.harpersbazaar.com/uk/fashion/fashion- news/a23127268/emilia-wicksteadmay-fair-installation-interview/ , Accessed 10 Nov. 2019.

Luxe: Responsible Luxury Editors. “Emilia Wickstead: Fashion Fit for Royalty.” Luxe: Responsible Luxury, n.d., https://www.lux-mag.com/emilia-wickstead- fashion-fit-forroyaltylux-mag/, Accessed 11 Nov. 2019.

Rosseinsky, Katie. “Emilia Wickstead on the Art of Dressing Up.” Grazia (U.K.), Bauer Media Group 14 Sept. 2017, https://graziadaily.co.uk/fashion/news/emilia-wickstead-interview/ , Accessed 10 Nov. 2019.

Stipelman, Steven. Illustrating Fashion: Concept to Creation. 3rd ed., New York: Fairchild Books, 2011.

The Business of Fashion Editors. “BOF Partner: Emilia Wickstead- Company Snapshot.” The Business of Fashion, n.d., https://www.businessoffashion.com/organisations/emiliawickstead, Accessed 10 Nov. 2019.

Tortora, Phyllis G. and Sandra J. Keiser. The Fairchild Books Dictionary of Fashion. 4th ed., New York and London: Bloomsbury and Fairchild Books, 2014.

"Emilia Wickstead London Woman SS 2020." YouTube uploaded by IMAXtree.tv, 15 Sept.

2019, https://www.youtube.com/watch?v=DZ7S3K7koec, Accessed 4 Mar. 2020.

MFW REVIEW- SPRING 2020: SPORTY IS THE SPICE AT LUISA BECCARIA While maintaining the brand’s ladylike tendencies, this collection has a sense of activeness The Spring 2020 Ready-to-Wear collection of Luisa Beccaria was set in the midst of two games of badminton, taking place on the lawns bordering the pavement walkway. A piece of chiffon fabric with a lace border was used as a badminton net. The collection to follow would allude to the industry’s current athleisure trend, discussed and described by Andria Cheng and Chip Wilson on Forbes.com, through its nods to sporty badminton, or tennis, skirts, and dresses.

However, despite the collection’s sportier look with its use of cotton, drop-waist dresses, pleated skirts, sweaters tied about the neck, flat shoes, and athletic headbands, it did not shy from the established brand characteristics. These aesthetics are what Beccaria describes as “...feminine, new romantic…,” and sophisticated,” in an interview with Alain Elkann.

Beccaria’s ladylike side remained present in the collection’s use of floral prints, lace, eyelet, floral appliques, chiffon dresses, and lingerie-inspired looks. Her “Romantic” tendencies, as defined in The Fairchild Books Dictionary of Fashion, remain in the collection’s use of fluid chiffons, ruffles, and frills on sleeves and dress hems, as described in this work and the Thames & Hudson Dictionary of Fashion and Fashion Designers.

The collection’s dynamic element was its silhouettes. Some examples were tailored others were fluid. Sleeves ranged from form-fitted to voluminous.

The collection’s palette consisted of colors such as beige, white, pale ceruleum, pastel purple, pink, slate blue, and red-violet. Many of these colors were incorporated into the prints of ribbed opaque, lace, or eyelet textiles. Some of the florals, depicted within these textiles, appeared to be hand-painted or printed. A few tailored drop-waist ribbed white dresses that were printed with pale cerulean bows.

Overall, the collection was a sporty twist on Beccaria’s trademark aesthetics. The collection has an enduring appeal, with aesthetics that could easily transition from one time period to another.

Works Cited: Callan, Georgina O’Hara and Cat Glover. Thames & Hudson Dictionary of Fashion and Fashion Designers, 2nd ed, London: Thames & Hudson, 2008.

Cheng, Andria. “More Signs the Athleisure Trend Isn’t Slowing Anytime Soon.” Forbes, 26 Sept. 2019 , https://www.forbes.com/sites/andriacheng/2019/09/26/more-signs-theathleisure-trend-isnt-slowing-any-time-soon/#4d986dff1691, Accessed 17 Nov. 2019.

Elkann, Alain. “The Woman of Now: A Romantic Woman in a World of Luxury.” Luisa Beccaria, n.d., https://luisabeccaria.it/lifestyle/a-romantic-woman-in-a- world-of-luxury/, Accessed 15 Nov. 2019.

“Luisa Beccaria - Spring Summer 2020- Full Show.” YouTube, uploaded by FF Channel, 26 Sept. 2019, https://www.youtube.com/watch?v=HGMa3EaIzlY, Accessed 17 Nov. 2019.

Tortora, Phyllis G. and Sandra J. Keiser. The Fairchild Books Dictionary of Fashion. 4th ed., New York and London: Bloomsbury and Fairchild Books, 2014.

Wilson, Chip. “Why the Word ‘Athleisure’ Is Completely Misunderstood.” Forbes, 18 Apr. 2018, https://www.forbes.com/sites/chipwilson/2018/04/18/why-the- word-athleisure-iscompletely-misunderstood/#227e085e4697, Accessed 17 Nov. 2019.

“Luisa Beccaria - Spring Summer 2020- Full Show.” YouTube, uploaded by FF Channel, 26 Sept. 2019, https://www.youtube.com/watch?v=HGMa3EaIzlY, Accessed 17 Nov. 2019.

TOKYO FASHION WEEK REVIEWSPRING 2020: MINIMALISTIC INGENUITY AT HYKE Hyke Demonstrates How to Create Minimalist Garments that are far from Dull Hyke’s collection from Spring 2020, presented during Tokyo Fashion Week, consists of variations on outerwear staples, and unadorned surfaces, with construction details, like pleats, pockets, and fringe, contributing the highest impact. The characteristics of this collection remain consistent with the brand’s hallmarks, through its interpretations of the trench coat, other elements of “..traditional American workwear...” as described by Kristin Anderson of Vogue, and minimalistic tendencies, noted by Eri Koizumi of Woolmark.com.

According to Hyke’s designers, Yukiko Ode and Hideaki Yoshihara, as quoted by Koizumi, they are “...influenced by older things...” including “...work, military, sports, or other uniforms...” and they then “...analyze...” and mentally dissect these garments, “...and ...rework them into new forms...”.

The standout interpretations of Hyke’s trademarks, from the Spring 2020 season, include hybrids such as a cape trench coat, and lace-up front hoodie trench coat, with a gathered hem. Another unique piece, in the collection, was a cropped, button-down shirt, with a gathered hemline, which was an exploration of “...oxford shirts...” an additional brand staple, noted by Anderson. A pale cerulean mandarin collared shirtdress, with trench coat style belt, and pleated wrapped skirt, is another noteworthy piece.

The collection offers a variety of silhouettes and fits. Some garments have a relaxed tailored fit, while others are even less constricted. Some garments have waistlines that are cinched, while others are undefined. The collection does not veer into the territory of extreme volume variations, which allows the presentation to feel seamless.

The collection utilizes denim, wool, khaki, and cotton. Finally, there are also garments that appear to be made from leather, or animal product-free alternative, and chiffon.

The color palette of the collection consists of neutral tones such as black, navy, white, tan, cool, and French greys. However, the collection also featured pale cerulean blue and pink. Black, white, and tan combinations were observed in paint splatter prints.

Overall, Hyke’s collection is brand consistent and manages to balance minimalist tendencies with ingenuity. Finally, these pieces have a timeless quality about them, due to their lack of ornamentation, which will allow them to meet the needs of sustainability.

Works Cited: Anderson, Kristin. “Two On-the-Rise Japanese Brands You Need to Know Now.” Vogue, Condé Nast, 25 Sept. 2015, https://www.vogue.com/article/hyke-mame- japanese-fashionbrands, 1 Dec. 2019.

Fuji, Shoji (Photographer). Hyke Runway Collection, Tokyo Spring 2020, Looks 1- 48, Tokyo, Vogue, Condé Nast, https://www.vogue.com/fashion-shows/tokyo- spring2020/hyke#collection , Accessed 1 Dec. 2019.

Koizumi, Eri. “Fashion: Inside the World of Hyke.” The Woolmark Company, n.d., https://www.woolmark.com/news/fashion/inside-the-world-of-hyke/, Accessed 1 Dec. 2019.

"HYKE 2020 S/S Collection - Rakuten Fashion Week TOKYO 2020 S/S." YouTube, uploaded

by Rakuten Fashion Week TOKYO on 15 Nov. 2019, https://www.youtube.com/watch? v=AhUpioh85hQ, Accessed 4 Mar. 2020.

PFW REVIEW - SPRING 2020: DRESSING THE MULTIFACETED MODERN WOMAN Alexandre Vauthier’s collection exemplifies dynamism in silhouette, fit, and mood The Spring 2020 Ready-to-Wear collection for Alexandre Vauthier is multi-dimensional.

The collection consists of pieces that are fluid, tailored, or draped. In an interview with Numéro, when discussing these tendencies in past collections, Vauthier states, “I think that’s what today’s women want: they want to alternate between sportswear and glamour...they need a hoodie, a chic tuxedo, and an ultra-sexy evening gown.” Vauthier’s most recent collection continues the brand’s reflection on the lifestyle of the multifaceted modern woman, who can enjoy a superbly fit suit, as much as she can a precisely draped dress.

The diverse needs of the contemporary woman were addressed through Vauthier’s variety of silhouettes and fits. The collection features suits, in both fitted and relaxed forms, dresses, that were draped, tailored, or voluminous, and jumpsuits, with pant legs of various sizes. No matter the style or silhouette his tailored garments remain precise, which relates to Vauthier’s past experience working for companies including Jean Paul Gaultier and Thierry Mugler, as discussed by Jennifer Lee of Forbes.com. Vauthier’s attention to fit and construction is important in a time where sustainability concerns are at the forefront, as ill-fitting garments easily become disposable.

The variety of this collection also meets the needs of the modern woman, by providing her with garments to wear for work, a night out, formal, and semi-formal occasions.

Sequined garments, with low necklines, are fitting for a night out with friends. Suits for work-life, mid-length semi-formal dresses, draped chiffon, sequined formal dresses, and a trench coat for daytime looks, cover the remaining aspects of one's lifestyle.

The palette of the collection consisted of black, white, red-violet, robin’s egg blue, navy blue, cream, and multiple pink hues. White and black were the contrasting colors present in pinstripe, plaid tweed, and houndstooth suits. Floral prints, comprising of black, white, and pink, were seen in one of the dresses, and shoes.

Overall, this collection provided women with diverse looks for multiple occasions and moods. The balance of opposing silhouettes and fits reflected the dynamic personality and lifestyle of modern women.

Works Cited: Alexandre Vauthier (Photo Courtesy). Alexandre Vauthier Runway Collection, Spring 2020 Ready-to-Wear, Looks 1-20, Paris, Vogue, Condé Nast, https://www.vogue.com/fashionshows/spring-2020-ready-to-wear/alexandre- vauthier/slideshow/collection, Accessed 24 Nov. 2019.

Lee, Jennifer. “Alexandre Vauthier, The Modern Day Couturier.” Forbes.com, 22 May, 2017, https://www.forbes.com/sites/jenniferlee/2017/05/23/alexandre- vauthier-the-modernday-couturier/#36fb0e443e26, Accessed 24 Nov. 2019.

Roche, Delphine. “Alexander Vauthier the golden boy of Fashion.” Numéro, 3 Jan. unknown year, https://www.numero.com/en/fashion/alexandre-vauthier- golden-boy-saint-laurentinterview-collection, Accessed 24 Nov. 2019.

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Styling

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Fashion Blogging & Social Media

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