6 posts tagged "House of Holland"
Most know Gwendoline Christie for her role as the armor-clad Brienne of Tarth on HBO’s fantasy smash Game of Thrones (get ready, the new season kicks off March 31). But when Ms. Christie’s not running through a Westeros battlefield, she’s a full-fledged member of London’s tight-knit fashion pack. You might find her cheering (and we mean cheering) at a good LFW show, squeezed into the front row between Princess Julia and Lulu Kennedy (Christie never misses the runways of close friends like Roksanda Ilincic, Louise Gray, Giles Deacon, and Henry Holland, just to name a few), and the bulk of her GOT press wardrobe was courtesy of pal Richard Nicoll. The six-foot, three-inch actress actually got her start modeling in student shows at the London College of Fashion and Central Saint Martins. “I feel quite passionately about London Fashion,” Christie told Style.com. “I think some of the most creative and interesting and brilliant people I know are involved in fashion, and I’m lucky enough that they’re my friends.”
Naturally, however, playing a die-hard warrior will have an effect on one’s look. “I had to cut my hair for Game of Thrones, which I found really hard. I find it quite embarrassing to admit that, but I think a lot of a woman’s femininity is tied up with her hair. Afterward, I had quite a big style overhaul,” says the actress, noting she used to study film-noir stars and covet a “sex bomb” Marilyn Monroe aesthetic. “Now, I look to people like Jean Shrimpton, Katharine Hepburn, Twiggy, and Greta Garbo in her more masculine stage.” Christie’s since embraced her ultra-androgynous makeover (pretty on trend, if we do say). “I think that’s more interesting—like a modern reimagining of femininity.” Continue Reading “Gwendoline Christie: Glamazon Warrior” »
If Spring ’13 is any indication, extravagance need not be reserved for the evening hours. This season, designers amused themselves with some sartorial contradictions: We’ve seen jewels on sneakers, crystal brooches on T-shirts, and sequins on sweatshirts. Adorn yourself, and shop our picks from Christopher Kane, Suno, Miu Miu, and more, below.
1. House of Holland sweatshirt, $196, available at www.brownsfashion.com
2. Christopher Kane top, $1,955, available at www.matchesfashion.com
3. Suno skirt, $325, available at www.brownsfashion.com
4. Venessa Arizaga bracelet, $317, available at www.brownsfashion.com
5. Miu Miu sneakers, $595, available at www.bergdorfgoodman.com
To view more looks, click here.
There’s been lots of talk about the controversial practice of “peacocking” this season. But as we look back at four weeks of Fall ’13 shows with weary eyes, a few designers (and street-style stars) remind us that the f in fashion stands for fun. And perhaps embracing that with a little panache isn’t such a bad thing—particularly when it comes to novelty accessories. Take Dior, for instance: This season, Raf Simons brought a dash of wit to his slick collection by embossing boxy handbags with Warholian sketches of pointy single-soled shoes, thereby fusing two of our favorite things into one. (His raised-eyebrow sunglasses also deserve an honorable mention.) At Fendi, Karl Lagerfeld garnished his handbags with furry multicolored dice (one of which reminds us a little bit of an Angry Bird), and over at Chanel, he sent out models with mini-globe handbags and cobalt, powder-pink, mint-green, or red fur Anna Wintour bobs that looked like they were plucked from an anime cartoon. Speaking of fur, we can’t forget the giant skunk-striped mittens that turned up at Altuzarra or, for that matter, the arctic-appropriate full-length black gloves at Alexander Wang.
We also saw loads of cheeky headgear (Yazbukey‘s Plexiglas heart-and-arrow hat, Piers Atkinson‘s devil-horn cap, Meadham Kirchhoff‘s unicorns-in-love crown), jewelry (Henry Holland‘s crystal martini earrings, Lanvin‘s wildly appropriate “Help” pendants and wasp brooches, Louise Gray‘s eggbeater earrings), and miscellanea (Dsquared²‘s Sunset Boulevard-worthy extra long crystal-encrusted cigarette holders). But the sartorial satire wasn’t just on the runway. Outside the shows, Tommy Ton captured everything from skeleton gloves to Vika Gazinskaya’s scarf, which is made out of what appears to be a stuffed-animal iteration of a lemur. Sure, many of the shows were dark and somber, with their punk themes and muted palettes. But that just made the odd touch of zany all the more welcome.
By now, it’s been established that we’re in the midst of a nineties style revival (points of reference: the spring 2013 collections of Dries Van Noten, Phillip Lim, Dsquared², and House of Holland, just to name a few). But the art world is reliving the nineties, too. Earlier this month, the New Museum opened its NYC 1993: Experimental Jet Set, Trash and No Star exhibition, which, named for a Sonic Youth song, features artwork that was exhibited or produced in New York in 1993 (like Matthew Barney’s drawings, John Currin’s Girl in Bed painting, and Art Club 2000′s Conrans I print, which shows Gen Y-ers surrounded by Gap bags—below). And today, photographer Marcelo Krasilcic memorializes the full decade with his show 1990s at Colette in Paris. (It coincides with the release of his book, Marcelo Krasilcic: 1990s, which Colette will fete on March 1.)
So why all the nineties nostalgia? “I think we’ve explored the eighties already. We have these generational moments, and twenty years feels like the right time to look back,” says Jenny Moore, one of the curators of the New Museum exhibition. But aside from the twenty-year mark, there are cultural similarities between today and the grunge era, which are ripe for exploration. For instance, health care and gay rights were climbing onto the political stage in the nineties. Today, they’re front and center. “A lot of what happened then—in terms of culture, fashion, and music—is still very much a part of our cultural discourse,” says Moore. The early nineties also marked the beginning of Rudolph Giuliani’s tenure as mayor of New York City, which many believe marked the end of the dirty, dangerous, free-spirited party that was old NYC. “It was the last hurrah for New York in this gritty, anything-is-possible moment.”
Krasilcic, who came to New York from São Paulo to study photography in 1990, concurs. “It really did feel like everything was possible,” says the photographer, who at the time was working with the likes of Dazed & Confused, Purple, and Self Service. “The distinction between art and fashion photography was really blurred, and the clothes were just an accessory to the idea that we wanted to talk about.” Not surprisingly, his favorite nineties subject was indie queen Chloë Sevigny (above), whose photographs feature in his show and book. Don’t call it a comeback—Chloë is one nineties icon who never left.
The New Museum’s 1993: Experimental Jet Set, Trash and No Star runs through May 26; Marcelo Krasilcic’s exhibition will be open at Colette from today through March 20.