Santigold, Lykke Li
Yeah, yeah, we know Lollapalooza is more about the music than the fashion - but the two are supposed to go together, right? Santigold and Lykke Li both took to the stage in Chicago this weekend wearing their festival best.
Whose style works better?
My apologies for all the exclamation points - you were probably ready to think this was some Lindsay Lohan Fornarina ad. BUT! New Yorkers are seriously losing their melons over the stateside launch of Britain's favourite high-street staple. Mark Ronson has reportedly been filming for MTV about it. Kate Moss is handling the large scissors at Thursday's ribbon-cutting ceremony. And Topshop's parent company, Arcadia, threw a bash at Balthazar in honour of the new retail venture.
Hello, New York! If you're in the Big Apple on 1 April, you'd be wise to head to the Topshop opening. When the high-street icon launches in America, the stars will come out to play. Besides Kate Moss and Sir Philip Green (OK, not a star, but he comes with the territory), the guest list includes Lady GaGa, Mark Ronson, and The Artist Formerly Known As Santogold, who now calls herself Santigold. You can discuss that with her at the shoe racks.
Williamson’s show made me breath as sigh of fresh air when I saw Magdalena Frackowiak stride down the runway in a feminine two tone brown and orange dress and bright oversized coat. We can always rely on Williamson to stick to his guns and bring us bright colour, femininity and embellishment regardless of what’s going on in the world and what other designers are doing. "You have to believe in your vision," he said backstage.
Yes our winters are getting colder and we are going through the worst economic slump in half a century but that doesn’t mean it needs to be so evident in our clothes. Since the great depression, fashion has been used as an escape to juxtapose the sinister backdrop of what is going on in the world.
A lot of the other shows this season have stuck to the conventions that we expect from fall. I’m talking, dark colour palettes, thick cream knits and large black winter coats. What was so refreshing about Williamson’s show is that he went against the grain. The wide leg trouser that we have seen over the last few days was none existent. Hemlines on skirts and dresses were high but were beautiful styled and layered under thick coats with fur around the wrists or fur delicately wrapped around each models neck.
Fur lent itself to adding instant glamour and effortless sophistication to his designs. By experimenting with the colour of the fur, Williamson was able to instantly make the look more elegant with the classic brown fur, or edgy with the deep red and blue.
The key to working Williamson’s look into your fall wardrobe is layering. Small feminine tops were teamed with last season’s wardrobe staple leather trousers with long cardigans and fur around the neck.
The styling was very strong this season. Black, edgy leather trousers were juxtaposed with feminine bright cardigans creating an interesting dynamic between a hard and soft aesthetic.
Williamson is bang on trend with this two piece trouser suit. Last season saw the like of Sinha Stanic, Richard Nicholl and Stella McCartney focus on reinventing the classic suit and this season Williamson has created a much needed addition to this trend. The suit doesn’t need to be boring anymore with interesting prints like the one above.
A few years ago we were all talking about the latest ‘It bag’ but now the focus is all about who does the craziest shoe. Williamson showcased beautiful black and white printed ankle boots with pint soles that will definitely get you noticed come fall.
Knitwear was a strength of the show. Williamson could not help himself but add some embellishment to the knitwear. Black turtle neck dresses were adorned with a vertical panel of intricate embroidery that we have all come to love and expect from Williamson.
The vibrancy of the show was reflected in the front row. Fun loving celebutants like Joy Bryant, Santigold and Zoe Kravitz, who described the show as ‘amazing’, were further evidence of Williamson’s appeal to both the feminine girly girl and the more eccentric customer.