Style Bypass: The Baker Boy Hat is Back with a Vengeance

There are some trends that you hope and pray you've seen the back of. You see them reduced to clear in the January sales and breathe a sigh of relief, knowing there are at least a few seasons' respite to recover from the onslaught of such horror. Then, just when you get comfortable, they rear their ugly heads and you know you've lost the battle once again... Enter the inexplicably in-demand baker boy hat. 

 [Image via YouTube]. Love Actually does its bit to fuel this trend... *shudders*

It's had several incarnations over the years - a nod to 90s waif chic, an accessory for Keira Knightley's insipid character in Love Actually in the Noughties, a useful hippy cover-up and a reference to Fiddler on the Roof. But never in my book has it been something to actually wear, or admit to wearing. I just don't get it, and I'm not sure I ever will. Is there something alluring about putting on what looks like a small mushroom cloud that's mated with a baseball cap? What kind of gall does it take to buy one of the even more bizarre versions, such as patchwork, giving the wearer extra quirk points (and ensuring I stay an extra five feet away from them)? The mind boggles.

 [Image via Pinterest]. Look how unhappy Barbra Streisand is with her choice of hat.

It seems not all of the fashion world is confident on this one - whilst Glamour has championed the hat, placing it on Taylor Swift's head for the November 2013 cover shot, Grazia sat on the fence and debated whether baker boy style was 'eek or chic?'. But when there are so many other types of millinery that aim to flatter and have more of a function, such as the humble beanie, the bowler or the fedora, I don't really see where the baker boy hat fits in. It's cumbersome, likely to get in your eyes at the whisper of a breeze, and seemingly designed to make your head look bigger - something which doesn't strike me as being much of an advantage. In fact, it has all the charm of parachute trousers or hair scrunchies, as far as I'm concerned.

The question is, will fashion victims fall for the baker boy and start bellowing Fiddler on the Roof tunes, or will they see it for what it really is, and run a mile? I can only hope that good taste wins out this time, as these hatters seem to be mad.

Lakme and Wills India Fashion Week: Who to Watch for Autumn/Winter 2013

So, New York Fashion Week may have just started, but I'm still in the whirlwind of India's style options for this season. Here I'm not only focusing on the recent output from the Lakme shows in Mumbai, but also from Wills India Fashion Week, which takes place in New Delhi and is organised by the Fashion Design Council of India (FDCI); the main difference here is that WIFW showed its Autumn/Winter 2013 collections back in March, whereas LFW has only just revealed the same season's offerings. 

However, as all of the clothing is designed to be worn right now and in the coming months, it makes sense - in my head, at least - to combine a selection from the two events. 

 Soldiering onto the catwalk with Sneha Arora [All images by

Dwaipayan Mazumdar, via Vogue.in].

Sneha Arora (shown at LFW)

Arora studied at Kolkata's National Institute of Fashion Technology and has come a long way from her Gen Next status at last year's Winter/Festive shows. Last season she gave us a collection that balanced slim silhouettes and precise tailoring with billowing dresses using incredible photo prints of balloons, fluffy clouds, stormy skies and eagles, making you think of flight, independence and freedom. 

This time around it was all about restricting that freedom and turning to vintage military influences, creating 'Soldier's Story': yet again it used prints based on photos, but this time they dominated certain sections and crept into the overall outfit, rather than being prominent on first glance. You might almost assume the figures were abstract, until you look a little closer.

 Lady Gaga, eat your heart out - Nida Mahmood's eccentric adventuress rules.

Nida Mahmood (shown at WIFW)

'Steampunking away!' was the order of the day for Mahmood's fictional character, Captain Must! Qalandar, who formed the basis of her A/W13 line; to call it playful doesn't really go far enough. There's an energy and an artfulness here that places her work somewhere between Lady Gaga's Haus of Gaga and the effervescence of London's young designers like Louise Gray and Meadham Kirchhoff. Mahmood, like Arora, trained at NIFT, but she's also a self-taught artist with a passion for making wearable art.

It's often said by both industry insiders and the public that fashion takes itself too seriously, but Nida Mahmood shows that not everyone lives up to this stereotype, and with good reason.

Are you a 'fashion ninja', as Mrinalini's ladies have been called?

Mrinalini (shown at WIFW)

The 'black comic narrative' running through this collection allowed plain formal touches (the chunky shoes, the briefcase and the trilby) to clash with carefully planned injections of colour, fun and texture. 

This was a real move away from the full-on colour and cartoon-like feel of Mrinalini's S/S13 line, which seemed to have raided the paintbox, but it retained an experimental nature. I'm sure that a lot of these pieces will have commercial appeal and will be snapped up by shoppers.

The next chance to see the designers of Wills India Fashion Week will be in early October, when I'll take a look at what they've got in store for our summer wardrobes of 2014.

The fashion loop: what's so radical about A/W13's high street buys?

I bloody love Autumn/Winter clothing collections; it's no secret that I normally find them more exciting and creatively diverse than Spring/Summer, when pastels, neon and all things 'cute' come out of the woodwork with ritual predictability. But this year I've found that the bigger ritual and the feeling of being stuck on repeat has come from my first glimpses of A/W13 on the high street.

That pink coat could have been bought last year, but it's a new Zara offering.

[image via Company.co.uk].

Whilst I loved the big trends of A/W12, with the burgundy and the khaki and the navy, the continual appeal of leather trousers (which have been knocking around for a few years now), the quirky squirrel and owl motifs on jumpers, the punk nail art, the fake fur and mohair in crazy colours, the dark florals, the tartan prints, the pale pink coats, the spaghetti strap silky camisoles and slip dresses, the houndstooth and the metallics and the faux-leather midi skirts, I've found them to be coming around again with very little difference in what's being offered. 

Clearly retailers know when they're onto a good thing, and we obviously all bought up the stuff last year, but how much of it - realistically speaking - needs replacing (apart from my faux-leather trousers, which need yearly replenishment as the knees always go)? How many trends are we going to buy into for the second or third consecutive year and not even bat an eyelid, dampening the impact of the really unusual trends for this coming season, like Celine's bag lady chic and Stella McCartney's oversize pinstripes? In amongst all of the recycling, the Celine and Stella tributes aren't given the edge that they need to stand out against the repeated failsafe hits.

 Brocade for A/W12 from Marks and Spencer [image via Telegraph.co.uk].

Brocade comes back again for A/W13 [image via Telegraph.co.uk].

It just feels oddly like a huge case of deja-vu as I walk round the shops and browse the internet, seeing the same tartans, the same kooky jumpers, the same punk luxe and grunge pieces. In fact, currently in the Zara sale you can pick up a faux-leather burgundy pleated skirt, which looks remarkably like it could work for the upcoming season, so just buy it now and save it for a month or two and you'll be ahead of the game... or just wondering if it's a ploy to make you need the inevitable newer and shinier version that they're bound to bring out. 

Of course, people may have missed out on certain key purchases first time around, and I'm all for getting the items I should have put in my basket in 2012 (pale pink coat, please), but there's honestly very little at the moment that feels distinctly new or innovative to make this feel like a new season. Maybe the retailers are afraid to take a risk and they feel safer picking up the trends that have been recycled by designers again and again; maybe it's down to the trend forecasters looking to street style photographers and hipsters, who are all looking at each other, and we've just run out of ideas? Has there been a saturation point? Or can we expect a sudden injection of originality in September and October, when the real hardcore winter fashion starts to hit home?

 Shearling meets leather for A/W12 at Zara with this short jacket [image via Look.co.uk].

Here it comes again, with the 'combination cropped jacket' for A/W13 [image via Zara.com].

If you think I'm catastrophising, I'd ask you to go into any high street fashion retailer - Zara, M&S, H&M, Primark - and check out their early A/W13 drop right now. Look at the items carefully and try and picture them in light of what was on sale a year ago. Does anything feel like it's too new, design-wise, to be something you could have bought in 2012? I challenge you to find five items that are definitely from this year's Autumn/Winter collection and couldn't be mistaken for last year's, or 2011's. Let me know if you're successful. The best examples I could track down were some rather brilliant furry winklepickers and slipper shoes from M&S - pure fun, but I need more like this in order to feel confident that retailers aren't getting lazy.

Gucci A/W13: Power Dressing with a Burgundy Glare

If you're always longing to look a bit more stylish in winter - think knee-high boots, a bit of snakeskin, loads of plum and teal; chuck out your terrible chunky gloves, static hairstyles and sensible shoes - you need to see Gucci's take on the season. Break out the burgundy eyeshadow (try MAC or Illamasqua) and get ready for a makeover.

 There was plenty of high gloss black.

No, it's not the Matrix Reloaded, it's Frida Giannini's view of Autumn/Winter. The designer may be pregnant, but she was ready to unleash some fierce visions of femininity on the catwalk. I especially enjoyed the distressed dress (on the right), where the leather was cracked and softened like a 20-year-old biker jacket. The cocoon coat in the centre was a great example of leather panels used in moderation.

 Houndstooth was digitally printed onto different pieces.

This digital print worked really well as a recurring motif, teamed with snakeskin and a ladylike bag. Rather than channeling the British heritage trend, this was a more new age use of houndstooth that brought it right into the 21st century. The dress (on the right) will look amazing on the red carpet.

 If in doubt, fold.

Each of these ensembles uses a simple fold to add shape and character to what would otherwise be fairly standard pieces. The v-neck black dress becomes a wrap-over; the high neck coat gets a fluid curve that really makes it stand out. 

 More is more.

The last trend I spotted was all-out excess - whole outfits in the same shade of blue; a feathered skirt under a batwing silk blouse; a feathered top with a sheer front section (only to be worn by flat-chested women, I assume).

This was a classic Autumn/Winter collection, with familiar textures like velvet, which keeps reappearing every A/W season for the last few years with no sign of losing popularity, leather and pony hair (without the rainbow finish, a la Jeremy Scott). There was just the right amount of floral pattern on dresses and plenty of fail-safe black to make it easy to imagine incorporating into your wardrobe. Molto bene, Gucci.

Jonathan Saunders A/W13: A Whole New Meaning to Squeaky Clean

Proving that London always adds some much-needed quirk to the Fashion Week proceedings, Jonathan Saunders delivered an A/W2013 line that balanced bondage a la Fifty Shades of Grey with more respectable (read: you could wear these to a cocktail party) vintage-inspired dresses.

 [All images via Showstudio.com].

How much gloss would madame like?

Saunders gave his audience a lot of flexibility when it came to choosing how much PVC they would like and where they wanted it to sit, whether it was a tight waist piece or a full-on white PVC dress with a billowing skirt. The differing levels meant that the Saunders woman could be as obvious or as subtle as she wanted.

 Goodnight sweetheart

These sweetheart necklines worked well, in either soft khaki, black PVC against duck egg blue or more blatant bright red. The multi-strap leather heels also hint at something less than innocent.

 Restricted style

The dress on the right and the jacket in the centre show how well the PVC works against more voluminous fabrics in earthy colours, whilst the dress on the left is much less forgiving. The only neutral tone left is the brown of the shoes and the model is barely visible against what she is wearing. I like how Saunders has played with nipped in waists and wide skirts, but also how he has attempted a fuller skirt with the synthetic fabric.

From innocence to experience

These three looks are unashamedly full-on; you couldn't conceal their intentions if you tried. The flashes of red on the shoes and the top of the dress, and the leopard print, are adding signals for you to look at the models - they're Kat Slater trademarks that somehow work brilliantly in high fashion as well.

Saunders has created a collection that goes against the stereotype of the British prude and instead gives us an assertive woman who isn't afraid to be looked at; in fact, she's looking right back.

Eudon Choi A/W13: Let's Get Waisted

I was really impressed by Eudon Choi's Autumn/Winter 2013 collection - it had a nice blend of quirky accessories and really wearable pieces, from structured jackets to chunky knitwear in pink and turquoise - but the main draw for me was the waist detail. Say hello to next season's focal point - waist belt not necessary.

 [All images via Vogue.co.uk]

Dresses were gathered at the waist or drop-waist and sat beautifully.

It was all about femininity here, but with a touch of toughness on top of the sugar coating. Dainty shoes with pom-poms sat below long-sleeved dresses in several different styles, meaning there was something for every body shape. 

The leather version on the left flatters boyish figures and gives the illusion of wider hips, whilst the v-neck in the centre has a higher flaring and means that women who have 'child-bearing' hips would be able to emphasise their waist. Lastly, the version on the right suits top-heavy women who can't get away with the deep v in the centre but still need a mid-waist cinch.

 Skirts aside, there was still plenty drawing attention to the mid-section.

These coats (left and right) show how effective a simple coloured panel can be. As before, the panel that sits lower is perfect for those of you who want to emphasise your hips, whereas the higher cut disguises the hips and focuses on balancing the top half out. The top and trousers in the centre add height because of the continual pattern and the slimming vertical stripes, so it's a perfect combination if you're petite.

No more skirting the issue... here are the easy pieces you need.

Stand-out skirts were paired with effortless basics like these billowing white shirts and this navy coat with what looks like a shearling trim. There was a nice symmetry between the floral headpieces and the pom-poms on the shoes as well.

This felt like a collection that wasn't just designed for the typical fashion industry silhouette; it would work on anyone with curves, too - whether they come from the hips or the chest, or indeed both. Eudon Choi added a great blend of sugar and spice to next season, accessible to all.

Thom Browne A/W13: Alice in Wonderland, set in the 80s

I've had my eye on Thom Browne's quirky designs for a while now, but this collection made me stop in my tracks. It's as if he made up a recipe with equal ratios of Lewis Carroll, Gwen Stefani, Russian dolls, 1980s power dressing and an angry Miss Havisham, then added an extra sprinkling of rose petals for good measure. My favourite parts of the concoction, including one of the best girl-with-attitude pouts yet:

 [All images via Style.com, except where credited]

Excess All Areas

Browne's love of full volume design is always at the forefront of what he does - there's rarely any subtlety involved. That means an entire outfit in red, a pintuck-upon-pintuck dress with a corseted waist or a rose-strewn tulle gown with co-ordinating headpiece.

The typical Browne girl, if there is such a thing and she can be pinned down to a mere stereotype, is someone who refuses to be a wallflower. She probably loves cupcakes and Tim Burton films and wanted to be a horse when she grew up.

 Roses Are Red

It's all about the 1980s bouffant, even down to the frizz. Backcombed to seemingly impossible heights, it then has corsages pinned carefully into place, teamed with groomed brows, a pinch of blusher and a geisha-style lip in vibrant red. The overall effect is that of a Russian doll who's been listening to power ballads and works in an office. Makes perfect sense to me...

 The Lady is a Vamp

These shoulders are markedly different from the Henry VIII shoulders rocked at Burberry last season; they're more elegant and often angular rather than solidly inflated in appearance. If you've seen Browne's work before, you'll know he loves to exaggerate the silhouette like this, with American footballer shapes for men. 

These images also remind me of the micro-trend on street photography websites, for fashion editors and celebs to wear their jackets balanced on their shoulders, rather than putting their arms through the sleeves - the shapes here look very similar. Perhaps this is a case of the street influencing the catwalk?

 The Gathering 

Hitch up, look sharp, as Dizzy Rascal didn't quite ever say. Gathered layers of fabric were heavily embellished or accessorised with everything from fur trims (though I hope they're not real) to Edwardian ruffles. The nipped in waist is a great antidote to the effect of wide skirts and fussy sleeves.

 A Pout To Rival McKyla Maroney's Meme

This is a look that says, "I don't care if you hate what I'm wearing, because I bloody love it." Topped off by power brows, obvs. 

Sorry, McKayla.

[Image via Memecrunch.com]

Squaring Up

Again, these are not Henry VIII or American footballer shoulders, but they're something else. In this case, more of a masculine shape, but made to seem all the more square and grid-like thanks to the choice of geometric tweed fabrics. There's also a sort of Alan Titchmarsh twist (yes, really - I haven't gone totally mad, but it is a tenuous link) in that the square patterns work really well with the climbing roses. Sort of like a trellis - see? Just me? Oh well. Maybe I've spent too long analysing this one. 

Still, Thom Browne's Autumn/Winter outlook is rosy as far as I'm concerned. Just get me some 80s tunes, a can of hairspray and some roses and I'll be desperately recreating the look in no time, though maybe not without the set designer's additions of men tied to hospital beds.