Erin Fetherston, I Love You - Health Wellbeing

Erin Fetherston is one of my favourite designers; her creations are effortlessly feminine, charming and she consistently finds the right balance between pretty and practical. Her latest collection was exhibited at New York Fashion Week yesterday, and it looks simply adorable. Some of my favourite looks from the show are below:

 

 

Read More

Christopher Kane for Topshop - Health Wellbeing

A preview of Christopher Kane's latest collection for Topshop has just appeared online, and from what I've seen so far, the collection looks sure to sell out in record time. Kane has successfully established himself as the star of young British fashion; having only graduated from Central St. Martins in 2006, he has already worked for Versace and Giles Deacon, and in late 2006 established his own label with sister Tammy. Five independent collections in, Kane is now a firm favourite among fashionistas and celebrities alike, and his current collection for Topshop looks set to propel him even further into the fashion stratosphere. From Here :

 

Eyelet Mirror Baby Doll Dress

Available in Black and Navy

£150

Black Croc Tee

£45

Black One Shoulder Lace Dress

£45

(Worn with Black Mesh Eyelet Leggings, £75, Black Mesh Platform Sandals, £125 and Black Eyelet Box Bag, £65.)

Black Gem T-Shirt Dress 

£75

(Worn with leggings and sandals as above.)

Navy Bust Cup Dress 

£125

The collection drops next Friday (18th September), so be sure to snap it up (!) in store or online to avoid disappointment.

Read More

Decades of Decadence. - Health Wellbeing

By sheer luck whilst browsing BBC iPlayer, I found a wonderful programme originally broadcast on BBC Four entitled 'Style on Trial: The Finale'. Advocates including Brix Smith-Start, Caryn Franklin and Ben de Lisi put forward cases for their respective decades (from the 1940's to the 1990's) to a panel of judges (including designers Lulu Guinness, the adorable Celia Birtwell and editor of British GQ Dylan Jones) before the judges proceeded in deciding which decade to crown the most stylish. Inspired by this, I have collated my own retrospective of the last sixty years in fashion below with a view to deciding which era I think can be called the 'most stylish'.

The era of 'make do and mend', rationing and the beginnings of the golden age of couture under the leadership of Christian Dior in Paris in 1947. Rationing saw women becoming far more creative in their dressing, and accessorising became an instant way to update an old outfit. The Women's Land Army 'dug for victory' in jumpers, headscarves and trousers and the Blitz spirit manifested itself more than ever in the way women dressed. Tea dresses, red lipstick and high heels all belong to the 1940's, and remain staple items in the clothing and cosmetic collections of many women today. Without the hardship and rationing of wartime in the 40's it is doubtful whether the post-war golden age of couture would have unfolded in such glamorous and elegant fashion, as designers and women alike celebrated the excesses they were allowed to enjoy in peacetime once again.

The true era of luxury, sophistication and elegance. The 50's witnessed the birth of real tailoring and the genesis of, amongst others, the sack dress, the empire line dress and cocoon coat. Thanks to the designs of Christian Dior, the traditional hourglass silhouette was born, and women ever since have been slaves to achieving perfect proportions. The 1950's also saw the emergence of the teenager and youth culture inspired by cinematic rebels such as James Dean in 'Rebel Without a Cause' and Marlon Brando in 'The Wild One'. However, perhaps the most revolutionary development in the world of fashion happened when denim made the transition from workwear to fashionable clothing; ever since, jeans have been dominant in every wardrobe all over the world. The 50's then, appear to be years of transitory fashion; the decade begins with elegant tailoring and ends with the adoption of denim into the mainstream. The metamorphosis from formalwear to casualwear within the collective cultural consciousness of the era is something which is perhaps symbolic of the greater freedoms which were to be experienced in the coming 60's, specifically within youth culture. 

The 1960's is perhaps the richest decade when it comes to fashion history; one the one hand, the 'free love' movement saw the beginnings of flower power and hippy chic (think maxi dresses and wavy hair accessorised with flowers) and on the other the Chelsea Girls, mods and rockers and the beatnik Carnabetian army with their Quant designed mini skirts, leather jackets and Mondrian inspired graphic prints. The recently relaunched BIBA label was born in 1964, founded by Barbara Hulanicki, providing the young, cosmopolitan woman with designs inspired by those seen on the catwalks of Paris, but at a far more accessible price point. BIBA also launched a mail order catalogue, which saw the fashions which had become so popular in London spread across the UK. Many of today's most recognisable high street names were also born in the 60's, including Topshop and Miss Selfridge, and a young designer named Ossie Clark was dubbed 'the king of the King's Road' by the British press after his entire first collection was bought by Henri Bendel in New York City, an amazing feat, and something which many young designers still aspire to.

The 1970's; the era of kitsch disco glamour and aggressive punk, which, let's be honest, couldn't be further apart if they tried. Flares were compulsory, and men everywhere tried (and failed) to replicate Tony Manero's killer moves on the dancefloor. Ali MacGraw's hairstyle in Love Story was the look that launched a deluge of middle partings and Farrah Fawcett's blown out bouffant was replicated the world over. With the beginnings of punk music, black became regulation uniform for followers of the movement; skinny jeans, band t-shirts and weather beaten leather jackets combined with a 'devil may care attitude' clearly differentiated the punk tribe from their disco dancing, sequin clad counterparts and more than ever demonstrated the symbiosis which exists between music and fashion.

Yuppies, power dressing and Dynasty inspired shoulder-pads. Although the thought of 1980's fashion returning to vogue sends a shiver down my spine, thanks to Balmain, this time around it doesn't seem quite so horrible. Androgyny (think Annie Lennox in the 'Sweet Dreams' video) was a big look in the 80's, and accessories were oversized, brash and bold, with little regard for practicality (or taste, some would argue). Colours were fluorescent, often clashing and shell suits are a crime which should be forever condemned to the rubbish bin. Whenever I think of the 80's, I have to confess I feel a little bit ill, and think that we need to remember that the fashion of the decade wasn't that great the first time around, so I am filled with little confidence that shoulder pads will be any less ridiculous the second time around.

 The 1990's saw the minimalist aesthetic emerge, in a welcome contrast to the excesses of the money hungry 1980's, white was the new black, and the dresses of Gianni Versace became famous the world over for their figure enhancing tailoring. Supermodels including Christy Turlington, Naomi Campbell and Linda Evangelista dominated runways and editorials alike, and ingenue Kate Moss soon became the face which launched a thousand campaigns. Grunge was also a massive look in the 90's, but many found it difficult to tread the thin line between heroin chic and simply looking like a hobo who you might find lurking outside your local supermarket.

So, to conclude, it seems that nothing can match the sophistication and elegance of the 40's and 50's, although the 60's comes very close in terms of the sheer range of fashion and trends the decade encompasses. There is something about the magical tailoring, accessorising and attitudes of the earlier decades which is enchanting, especially as the closest many of us are able to get to that period is through the fashions we see repeated so often from season to season; we can be forever sure that trends from the past are never far away.

What do you think? Which fashion decade is your favourite?

The programme 'Style on Trial: The Finale' is available to watch on BBCiPlayer here, but is available to UK residents only.

Read More

Second trip to see Romeo and Juliet, Shakespeare's Globe - Health Wellbeing

When I first went to see Romeo and Juliet at Shakespeare's Globe, I must confess I found the production disappointing, as my initial review here demonstrates. However, after seeing the final performance of the production on Sunday, I have to say I found it much more enjoyable and engaging a second time around. The actors seemed to have settled into their roles and far from being overwhelmed, they seemed to relish in their final performance.

I always try and make a point of going to the Globe to see the last night of a performance, and last year even the rain that pelted the groundlings (myself included) failed to quell the energetic atmosphere that arises from enjoying Shakespeare as the sun sets on Bankside. Thoroughly enjoyable, and I now find myself regretting that the production has come to an end!

Read More

Phèdre, The National Theatre - Health Wellbeing

The National Theatre's much anticipated production of Jean Racine's tragedy Phèdre (in a version translated by Ted Hughes) more than lives up to expectation. Starring Oscar-winner Helen Mirren as Phèdre, queen consort to Theseus (Stanley Townsend), it was always certain to attract attention, and the praise that has been heaped upon Nicholas Hytner's production thus far has been unanimously complementary and deserved.

The narrative centres around Phèdre's tragic and shameful love for her stepson, Hippolytus (Dominic Cooper), whom she has banished for fear of acting upon her strong desire for him. When word reaches the kingdom of Troezen of the supposed death of Phèdre's husband (and Hippolytus' father) Theseus (Stanley Townsend), Phèdre is encouraged by her nurse Oenone (Margaret Tyzack) to confess her affection for Hippolytus to him. According to her, any incestual implications of a relationship between Phèdre and her stepson are negated by Theseus' death. However, as Phèdre confesses her shameful feelings to Hippolytus, his revulsion is plain. Her shocking revelation combined with Hippolytus falling in love with the princess Aricia (who possesses an ancient claim to the Athenian crown) and the re-appearance of a living Theseus sends the kingdom of Troezen and the lives of the characters into turmoil.

Aesthetically, the most striking thing about this production is the sparse set, designed by Bob Crowley. The proscenium-arch stage is a recreation of a Greek beach, incorporating cliff walls and a sand beach, which extends onto the forestage, bringing the performers (and by default the drama they are enacting) as close to the front row as possible. There are no scene changes in this production, which serves to enhance the claustrophobic feel of the piece, where the lives of the characters teeter on the edge of a cliff and at the mercy of the omnipresent and ever-fearful Gods. Combined with Paule Constable's subtle lighting design, which transforms from bright, almost blinding sunlight at the exposition phase to dark, melancholic shadow as the tragedy unfolds and the characters (specifically Phèdre) tread the thin line between metaphorical light and darkness.

The cast deliver some impressive performances against Racine's tragic backdrop. Helen Mirren is powerful and tormented in the title role, and seeing her perform live reveals her true strength as an actress; she is dynamic and in control throughout and commands the stage with the wealth of experience she has attained throughout her glittering career in the theatre. Dominic Cooper is mature and commanding in the role of Hippolytus, who seethes with anger and passion in equal measure. Cooper paces the stage like a coiled spring and potently demonstrates Hippolytus' inner conflict when he reveals his love for Aricia; the love he feels for her simultaneously consumes and scares him, given that he has seen so many great men become fallible at the hands of a succession of women. Ruth Negga is paradoxically vulnerable and strong as Aricia, and proves the power of a subtle look and stillness can be infinitely more powerful than melodramatic hysteria. John Shrapnel is also excellent is Théramène; both he and Cooper, perhaps even more so than Mirren, relish in their delivery of Ted Hughes' gritty translation of Racine's poetic French text, which, despite its ancient context, feels contemporary and urgent as the audience are confronted with scenes of familial strife, political intrigue and untimely death whilst the piece hurtles at breakneck speed to its tragic conclusion.

Read More

Film Review: Man On Wire - Health Wellbeing

'Man On Wire' is an award winning documentary which tells the audacious story of Philippe Petit's daredevil wire walk between the North and South towers of the World Trade Center complex in New York City. As well as charting the build up to the walk, the documentary illuminates Petit's accomplishments (and several arrests) in the build up to scaling the iconic Manhattan landmark(s) in 1974, including walking between the two towers of the Notre Dame Cathedral in Paris and traversing a wire rigged between two pylons on the Sydney Harbour Bridge in Australia.

Wire walking is Petit's vocation in life; the documentary more than demonstrates this when he professes that the freedom he feels when on a wire in incomparable to anything else he feels in life. The sheer preparation involved in his World Trade Center stunt demonstrates his passion; the event was eight months in the planning, and had to be orchestrated meticulously in order for this milestone achievement to work successfully.

This film is filled with humour, however dark it may be, and more than once when watching it, I have to confess I questioned Petit's sanity. But as he rationalised: 'If I die, what a beautiful death', I understood that for him, to die in the act of doing something he loves is enormously preferable than to die always wondering 'what if?'

Read More

Brief Reviews - Health Wellbeing

Back in April I went to see War Horse and England People Very Nice, but in the midst of exam revision and a busy summer term neglected to write reviews at the time. Nearly three months have passed since I saw these performances and needless to say my terrible memory isn't really up to writing an in-depth review of either, so for now I'll just rate each along with a brief comment.

England People Very Nice, The National Theatre, 16.04.2009, 2pm.
**** (4 stars).

Although dogged by controversy (on stage protests anyone?) regarding the so called 'racist' content of Richard Bean's script, England People Very Nice is an innovative and hilarious look at the waves of immigration to hit the East End of London (specifically Bethnal Green). Bean's script is witty, fast moving and seeks not to demonise immigrants but rather the reaction of the English to them; the French Huguenots, so maligned by the 'native' English when they first arrived in London go on to profess that the influx of Irish immigrants a generation later will destroy their homes and livelihoods. To call the play 'racist' is a simplistic dismissal of a piece which addresses not only issues of cultural identity but also national pride and patriotism, whilst remaining topical and engaging throughout.

War Horse, The New London Theatre, 18.04.2009, 2.30pm.
***** (5 stars).

The biggest recommendation I can offer this performance is simply that I would go and see it again, multiple times. Heartrending and visually enchanting, this has to be the best piece of theatre I have seen. Words simply cannot do it justice.

Read More