Posts Tagged ‘1970s’

Designer Fashions, Events, Gallery, New York Fashion Week - Runway

NY Fashion Week: Tommy Hilfiger

By Andrea Petrou on February 14th, 2011

By Emily Borrett.

Tommy Hilfiger A/W 2011-2012

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Tommy Hilfiger, one of the USA’s biggest and most iconic fashion brands, showed at Mercedes Benz Fashion Week yesterday. The result was a surprisingly pleasing mix of Annie Hall-esque androgyny and 1970s glamour, with a bit of New York grit thrown in for measure. Much like in Alexander Wang’s catwalk show, fur and leather were key in adding sexy and feminine twists to masculine tailoring.

Anyone who’s seen the Woody Allen classic Annie Hall will remember the endearingly sloppy trouser suit and waistcoat that Diane Keaton wore when she fell in love with Woody Allen – like a small frail girl dressing up like a man. Tommy Hilfiger have perfectly modernised that look, creating loose, low-waisted suit trousers and masculine suit jackets in lush-looking twills, adding flashes of riotous 70s-looking silk here and there to add a witty twist. The result is effortless – as if the models, panicking about having nothing to wear, just slung on their boyfriends’ suits and suddenly though “Hey, this looks pretty good”. There is nothing contrived about this collection at all.

The fashion house have managed to seamlessly blur the line between formalwear and sportswear, mixing slouchy sweatshirts and beautifully knitted men’s jumpers with fur gilets, suit trousers and leather. Our absolute favourite piece from the whole collection is the stone-coloured suede outdoor jacket with leather lapels – a genius take on old-fashioned outdoors wear, every girl will want one of these to brave the cold in, whether you’re in New York or Grimsby.

Yes, tailoring has been a big trend for a while, but not quite like this – Tommy Hilfiger’s 2011-12 collection takes masculine dressing to another level. The fashion house has taken the next logical step from reinventing the tuxedo as a feminine garment to bringing Saville Row dressing to the female market. In fashion, it’s never just a man’s world. In a subtly cool palette of greys, blacks, browns and golds, it’s an understated assortment of clothes that we think will give any wearer immediate elegance and poise.

Forget cocktail dresses – make our next party outfit a Tommy Hilfiger suit.

Features, Opinion

RIP Malcolm McLaren: But wasn’t punk already dead?

By Lauren Bravo on April 9th, 2010

malcolm-mclaren.jpgLauren Bravo writes:
A piece of fashion history died yesterday. Malcolm McLaren, former manager of the Sex Pistols, passed away in Switzerland, aged 64.

The news has made me feel sad, in an odd, empty-stomached sort of way. But if I’m honest, what I’m currently mourning more than anything is the fact as a 22 year old, my only real ‘memories’ of the erstwhile Godfather of Punk date from watching I Love the 1970s and occasional features in the Sunday style supplements. In my very best Carrie voice, I couldn’t help but wonder… what does punk mean to us?

People of my generation have grown up with McLaren’s legend sitting in the corner like an aged aunt. An aunt bearing a striking resemblance to Vivienne Westwood, it must be said, but a misty shadow of something that was once brutally important but has been dulled with time and laboured legacy. And while it’s easy enough to listen to God Save the Queen and feel something of the original rawness, the same can’t really be said of the clothes. Those dark, DIY looks are still very much a part of fashion, especially this season, but when we’re buying it from ASOS rather than Camden market does it still count, or is the whole idea too sanitary to be truly rebellious?

Westwood and McLaren’s prerogative was to provoke. Their King’s Road boutique was called, in turn, Let it Rock, Too Fast to Live too Young to Die, and of course, the one that stuck, SEX. Marching the’70s briskly though Teddy Boy style, glam rock and into Pistols-era fetishwear and bondage gear (neatly sidestepping fair isle tank tops), the couple’s influence still litters our catwalks and high street today.

Bandage tops, latex leggings, all the leather-studs-and-chains paraphernalia that return readily to our wardrobes season after season, all of it is descended from their punk philosophy. But somewhere along the way, it seems to have lost its shock value. Grannies don’t faint when we get on the bus; they’re more likely to be eyeing up our carpet bag and sensible brogues.

Part of the issue, of course, is diffusion. If there’s one dominant aesthetic that emerged from the noughties (and most of the time it seemed that there was only one), it was eclecticism. We are pick-n-mix dressers. We rarely wear a look head to toe; instead we’re encouraged to shake it up. Leather and florals, slashed tights with cocktail dresses, we dress like walking taster platters and by default each style is diluted down to a point where, oh horror, it’s just about the clothes, not a world agenda. Anarchy has been replaced by apathy – less anger, more time to accessorise.

Then there’s the obvious oxymoron. When designers tell us punk is ‘in’, does it still count as punk? For unlike Andy Warhol a decade earlier, who embraced the commercial and consumer potential of his art, McLaren and Westwood were inherently anti-fashion. Possibly being an actual punk today isn’t looking like Alice Dellal, it’s going to the opposite end of the scale, ironing a crease down some khaki slacks and tying a sweater round your shoulders. Need I remind anybody of the John-Lydon-does-butter-advert fandango?

Then finally, there’s the sex to consider. Credit where credit is due, Vivienne Westwood still understands female sexuality like no other designer. She creates pieces that flaunt the female shape in extreme proportions, while still retaining an edginess, a twist that seems to say “I’m wearing this for me, not you, bucko”. But what of the S&M styling that made she and McLaren such legends?

Well, we still have it in abundance, but not so much the ripple of shock that was meant to accompany it. Mention should be made of course, to Joe Corre, McLaren and Westwood’s son, and the co-founder of upmarket lingerie brand Agent Provacateur, who has given fetishwear a whole new fashion status. But when ShinyStyle’s Andrea can wear her undies to a bar without anybody batting an eyelid, and tweenies can wear bandage leggings down to Debenhams with their mums (heck, when the mums can wear them too), even sexualised dressing doesn’t pack the punch it once did.

To say ‘punk has lost its power’ would be trite in the extreme, but until I get to the bottom of the myth that the be-mohawked chaps on Camden bridge are paid to stand there by the tourist board, I will remain jaded on the subject. Punk remains a crucial part of our musical heritage, but where fashion is concerned, I think it needs to slot neatly into the filing cabinet of references alongside so many other revolutionary movements. So RIP Malcolm. You led a controversial life, and left a confusing legacy, but I imagine that’s exactly how you wanted it.

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Accessories, Designer Fashions, New Fashions

Marc Jacobs fall 2007 gives us wide hats and sleek coats

By Andrea Thatcher on August 31st, 2007

When Marc Jacobs sent his models down the fall runway, gone were the billowy fabrics and layers of his past collections. Instead, Jacobs introduced us to sophisticated women’s wear. Long coats with stiff shoulders, loose trousers, and wide-brimmed hats were inspired by 1970s menswear for women and pants-wearing 1930s screen siren Katherine Hepburn. To copy the look for less, continue reading after the jump.

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