Style in Almodovar's 'Women on the Verge...'

Anyone who's watched a Pedro Almodovar film will appreciate that the director likes his women strong, captivating and usually taking centre stage, but when I sat down to watch Women on the Verge of a Nervous Breakdown (1988), I wasn't quite prepared for how arresting their costumes would be. 

Every female character had a distinct look that only she could carry off, whilst the only memorable male outfit was the bizarre cartoon-esque get-up sported by Madrid's most sensitive taxi driver - think big 80s bleached hair and a heavy dose of lime green, against a leopard print taxi interior. 

 These well dressed women hint at how much fun you'll have with the film if you love style.

 The slick and eye-catching opening titles.

This is the man to thank: costume designer Jose Maria de Cossio.

This film not only had major staying power because of its complex plot and unexpectedly good one-liners during traumatic moments, but it struck me that the costumes were impossible to get out of my head. I kept thinking about Pepa's Vans-style trainers and hibiscus-print shirt, contrasted with her more business-like long line cardigans, which she even double-layered at one point. 

 What to wear when your bed bursts into flames, as demonstrated by Pepa (Carmen Maura).

 Pepa examines Ivan's wardrobe.

This calls for two cardigans.

I loved the innocence of her best friend Candela's tube skirt and top ensemble, worn with knee-high socks and creepers - an outfit that could have come straight out of Topshop this season. Candela (Maria Barranco) then borrowed Pepa's black dress, slicked back her hair in true 80s style and took on a much more serious fashion personality, as she tried to get to grips with the crazy and dangerous situation she'd found herself in, which Almodovar has made brilliantly tragi-comic.

 L-R: Marisa (Rossy de Palma), Candela (Maria Barranco) and Carlos (Antonio Banderas).

Candela's working the stripes and the embellished jacket.

A serious event needs a sharper outfit.

For another key character Lucia (Julieta Serrano), fashion was all about looking to the past, because the happiest times of her life were decades old. Cue meticulously applied eyeliner, a beehive wig and childlike accessories such as white tights and a hat that looked like it was once a traffic cone.

The eyeliner excuse: probably used by women around the world. As said by Lucia to Carlos.

Totally incognito.

The most interesting costume moments definitely appeared when things really started to unravel for the women. That meant weird hair and gazpacho-soaked clothing to go with the heightened tension and urgency.

Not quite sticking to smart-casual here, Lucia.

One of the morals of the story, as Pepa explains to Ana (Ana Leza).

This could almost be the basis of a Lichtenstein painting.

Basically, I can't recommend this film enough if you're into costume design and you love the 80s. There's so much expressed by the outfits in Almodovar's Women on the Verge... and it's great to see it lighting up the screen.

Dior A/W2012: Illustration

Just a hint of colour to suggest the cerise pink of this dress.

Another illustration has made its way out of the vaults - yep, I've been digging up loads of my old sketches. This is a glimpse of what Dior brought us for A/W2012, which reminded me of Roksanda Ilincic-style gowns due to the t-shirt shape on the body. The layers of tulle give a nod to the opening credits of Sex and the City, but this is a more polished look than what our heroine SJP was striving for on the streets of New York. The colour wasn't representative of the rest of the collection, by any means, but that's kind of why it stood out for me: a flash of something urgent amidst the other (still remarkable) pieces.

I found the model a tad too skinny so I fleshed her out a bit - she might not have made it onto the catwalk this way, but I think she looks a lot healthier.

[Illustration my own - please ask before reproducing].

British Ballgowns at the V&A: Drawn

 Nicholas Oakwell's sculptural astronomy piece was unmissable.

I was determined to draw this dress as it was such a feat of engineering. The exaggerated front section, with a sharp point and seemingly unending folds fell away to reveal densely packed layers of black tulle. Contrasting with a flash of a nude slip, this was a complicated piece that surely makes many of us realise why people crave the excitement of dresses over jeans and trainers every once in a while.

 Deliberately punchy, with some of the frenetic energy of Westwood's designs.

Anything but a wallflower, this was Vivienne Westwood's most attention-seeking gown in the exhibition and it deservedly overshadowed its neighbours. I'm not sure it's one that us mere mortals could carry off, but it certainly rejects the idea of British formal-wear design being about stuffy Etonians and cucumber sandwiches. Featuring feathers, over-sized leopard print and a heavy dose of Angelina-style leg, this is one for making an entrance.

This Yuki dress was pure 70s glamour.

It may have opened the exhibition, but I wanted to save the orangey red glow of Yuki's voluminous dress until last. What might have looked like a tent on the hanger somehow came to life on the mannequin, alongside the story of its original owner, Gayle Hunnicutt, who wore it to Windsor Castle. This was a brave move considering she was basically wearing a giant kaftan to a royal property. Clearly she put design over decorum, and it paid off.

British Ballgowns runs until 6th January at the Victoria and Albert Museum, London (nearest tube: South Kensington).

[All images are my own sketches, based on my visit to the V&A. Please ask before reproducing].

Fashion Sketches: Quick Response to Ballgowns at the V&A

 Sketch of Victor Edelstein dress, 1986, silk satin, worn by a politician's wife.

Here are a couple of sketches I made today, based on Saturday's trip to the 'Ballgowns: British Glamour Since 1950' exhibition at the Victoria & Albert Museum. It contained a huge range of gowns, from the dynamic duo Bellville Sassoon and the mighty House of Worth, to the big contemporary names of Mary Katrantzou, Stella McCartney and the genius that is Gareth Pugh, who used metallic leather to create a stark and striking gown with a severely high neckline. 

In the museum itself it was really hard to capture the mood and feel of the dresses and accessories, because there was no photography allowed, but I also got told off very rudely for 'sketching', even though I was literally drawing one minute stick figures in my notepad with basic silhouettes, and was in no way trying to run up an unethical warehouse full of pattern copies in the space of 60 seconds. Even in my recent trip to the Design Museum's Christian Louboutin show, we were proudly told that 'sketching is encouraged' (hooray!).

As it happens there was no appropriately displayed signage in the V&A saying that drawing was strictly verboten, so I had no idea this was going to result in being left to feel like a naughty schoolgirl who'd tried to walk off with an exhibit. I was really surprised that my very crude and frankly terrible images, which would help to jog my memory when writing exhibition reviews for various websites, were deemed so devious. I had a press pass in my hand and have been to the V&A as a journalist on many occasions, where my notes are crucial in order to give a specific and vaguely intelligent write-up. This was a really poignant and fascinating exhibition and it deserves more than the casual glance of the average tourist.

Sketch of Nicholas Oakwell dress, A/W 2011, with constellation print and nude bodice.

Three highlights of 'Ballgowns':

• Alexander McQueen's elegant and timeless angel print dress, from his final collection in Autumn/Winter 2010. With a major focus on handcrafted elements, his print took on the form of a relief sculpture of two angels. It's the kind of thing you'd kill to wear.
• Anouska Hempel's wonderfully graphic and stark monochrome dress from 1991, with angular shapes that fit around the body and turn you into your own work of art.
•  Zandra Rhodes' 1981 'Renaissance of Gold Cloth' dress, made to explore the panniers that were fashionable in Elizabethan times. So many onlookers at the exhibition were taken aback by this piece, calling it tacky or embarrassing, but it was really playful and inventive. Zandra herself wore a version of it in 1982.

 Although I found the exhibition absorbing, it was incredibly difficult to enjoy the beautiful gowns with such a transient viewing experience. The free guidebook we were given had no images in it, meaning that unless you were confident in connecting designer names and years with dresses then you'd have a hard time accurately remembering anything from 'Ballgowns' in the long term. It was sad that the entire thing seemed to be one long advert for the expensive hardback book in the shop, which is not accessible enough for Joe Public to consider buying after they've already invested in their ticket. I had hoped that we'd be allowed to take home a little more of the magic with us, instead of being left to feel like outsiders looking into this glamorous and unobtainable world. Please, V&A, rethink your sketching rules here, or at least display them more prominently and then give us a strong selection of affordable postcards at the tills.

[All images my own, based on rough sketches and produced afterwards using the Paper app. Please ask before reproducing - though sketching is not forbidden...].

Met Ball 2012: Impossible Conversations, Fairytale Dresses

 [Getty Images].

 Burgundy on Ice

Kate Bosworth in Prada, Caroline Sieber in Christopher Kane, Mia Wasikowska in Prada, Camille Belle in Ralph Lauren.

The Metropolitan Museum, a giant in the cultural world, is also home to a yearly ball which honours the cream of the crop in the fashion industry. It's always a myriad of colours, shapes and risks, with everyone's eyes on the celebrities and their stylists. 2012 has seen Miuccia Prada and Elsa Schiaparelli's combined retrospective setting the evening's theme, so plenty of celebs turned up in a nice bit of Prada. First up on my radar: the juxtaposition of burgundy lips and fabric with icy whites and blues, embellished with crystals, stones and sequins. This was glamour with a vintage edge, with an unusually brave lead by Kate Bosworth who was sporting a dress dyed in the same two-tone colours as my hair was during Spring 2011 (thank you, Schwarzkopf).

 Structured, Not Stirred

Emma Roberts in Escada, Elizabeth Banks in Mary Katrantzou, January Jones in Atelier Versace.

The pesky peplum has been very much on everyone's lips when it comes to this season's fashion, but it's been well and truly propelled into your agenda for the next six months with these efforts of varying hip-accentuated degrees. Expect to see high street stores adorning your curves with boxy pleated sections for quite some time, either with a belt or a very well-defined bust. Perhaps not one for the apple shapes amongst us, but this is a trend that just won't die. If you want a quirkier take on the look then channel Elizabeth Banks in Mary Katrantzou's eye-popping graphic print.

 Fairytale of New York

Dakota Fanning in Louis Vuitton, Rooney Mara in Givenchy by Ricardo Tisci, Amy Adams in Giambattista Valli, Mary-Kate Olsen in The Row.

Yep, thanks to all of those 'heroes and villains' cinematic epics at the moment (double points if they reference Snow White), fashion is firmly focused on all things traditionally 'pure' or 'deadly'. Go really literal with an injection of frothy lilac a la Dakota Fanning, or seductive satin from Mary-Kate Olsen. Take your cues from the film heroines of days gone by and enter rooms with a dramatic sweep, especially if you're feeling evil (add your own cackle as you see fit).

 Strike a Structural Pose

Jessica Stam in Christian Dior Haute Couture, Solange Knowles in Rachel Roy.

I'd say that this is the definitive pose, judging by how expertly both Jessica and Solange can do the dropped hip and one leg effect. Not only does it seemingly lengthen your pins, but it emphasises your arms and the strong architectural folds around your waist, which most definitely aren't signs of a muffin top (but would quite nicely conceal one - good tip, ladies). Props to Solange for leaving her amazing hair au naturel and not bowing to the pressure of the GHD straightening brigade.

 Sparkling Things

Dree Hemingway in Topshop, Liya Kebede, Carey Mulligan in custom-made Prada.

Causing something of a field day for any magpies in the area, these three women added some sparkle to the evening with their dresses. I love that Dree plumped for Topshop (as did Jaime King), which admittedly looks far more comfortable than Carey's custom-made Prada affair. Having said that, I am incredibly jealous of the latter's quiff.

Bargain Bin

Alexa Chung in Marc Jacobs, Karen Elson in Marc Jacobs, Rosario Dawson in Calvin Klein.

Lastly, three who didn't quite work for me. I know that Alexa is seen as the high priestess of fashion in many circles, but I find a lot of her outfits can be too formulaic at times. It's great to see her stepping out of her comfort zone here and trying a shirt under a dress, but the whole two-tone style of the Marc Jacobs number doesn't quite work on any level. Surprisingly I picked out another Jacobs disappointment on Karen Elson, where the shape and the finish left me unmistakably reminded of the bargain bins at Jane Norman that some chavvy friends tried to drag me into as a teenager. It's really disappointing that Marc Jacobs has performed so uncharacteristically on such an important night. As for the third candidate, poor Rosario Dawson is left with one half of a 1990s Posh and Becks leather outfit, possibly reclaimed from Furniture Village remnants, only her Becks seems to have run away with embarrassment. Or he may be hiding under her big panelled leather skirt. Either way, it's not looking bright for 2013 if these three have anything to do with the fashion rules.

As you can probably tell, I devoured the Met Ball photos like a child at Christmas. I think it was a particularly interesting year for celebrities trying something new (albeit at the behest of their stylists), and it was refreshing to see fewer sensible LBDs or prom dresses and more of the quirky or artistically minded pieces that make fashion intriguing. If you get the chance to visit the Met and check out the Prada and Schiaparelli exhibition, I'm sure you'll be similarly captivated.

NYFW Fall 2012: Nicholas K's Cowboys and Flappers Mash-Up

[All images taken from Style.com]

What we've learned from Nicholas K: the bigger the hat, the bigger the strut. The hint of cowboy was undeniable with this kind of headwear. Exaggerated proportions made it even more fun, with rolled up sleeves and baggy boots to complement the look, and that fierce reddish orange eye make-up.

This ensemble reminded me of travel photography focusing on harsh landscapes and often inhospitable environments (I'm thinking rocky outcrops, freezing wastelands and unforgiving desert sun). The block shade of mid-grey is a nice contrast to the harsh khaki, black and white tones elsewhere in this show.

Another element of travel came through for me in this catwalk collection: the notion of layering up and wearing as many of your clothes as possible, so you travel lighter. Note the awkward hat, coat, necklace and boots that make an altogether disjointed but exciting outfit, especially when placed against the flapper wigs that all the female models wore, alongside fringed pieces and draped boyish vests underneath that celebrated the boyish 1920s body ideal.

In the sleeker menswear silhouettes later on then there's more of a 'cityboy does western' vibe coming across - everything's polished, tucked in and neat, in contrast to the earlier frenetic layering and undone buckles. This suggests that Nicholas K isn't just aiming at one type of man or dresser; you can find something in this collection whether you like to look genuinely bedraggled or you just want a hint of bed hair.

The whole collection was an interesting combination of influences that made everything appear fresh, even though many of the pieces may have looked unremarkable in their own right. It's all about the layering and juxtaposition of forms for Nicholas K, and he makes a strong case.

Wedding Style a la France, Part 1: Brits vs. French

I hopped across the Channel with my close friends, Owen and Tania, for the wedding of our mutual friend Tiphaine. Here we are outside the hall where the ceremony took place - Owen stepped out of his usual comfort zone of black by wearing this grey Jasper Conran suit, which I advised him to buy (being his personal shopper when he braves a department store). I went for a mustard River Island dress (£10 in the sale) and floral blazer (£35).

I accessorized with low white heels (New Look, £12.99), a black chain detail belt (gift) and some black eyeliner.

Tania chose a peach Lipsy dress with a sheer panel, and some gorgeous New Look shoe-boots.

Clearly the winner in the style stakes! The bride, Tiphaine, opted for a traditional dress with a medium train and very flattering pintuck detail, as well as a very feminine ribbon laced back. She looked truly beautiful.

The pageboy went for grey, like Owen, and had a great little trilby hat on. Children at the wedding tended to be dressed down, so this boy stood out for me as being very stylish. He spent most of the reception gathering as many balloons as possible, which I think adds to the look!

[Images my own. Please ask before reproducing].

Until this weekend, I'd never been to a wedding abroad, so this was a particularly exciting occasion. Tiphaine and Francois married in the village where he grew up, then headed to her home town for the reception. It really was an eye-opening experience for us Brits - we are accustomed to hushed silence throughout the service and a strict dress code for all guests such as ties and suits, whereas this was a much more relaxed affair. The French also tend to head home in between the festivities for a few hours of rest and glamming up, before really partying in the evening (a very good idea for ensuring you can power through til the small hours). Although we spoke very little of their language everyone made us feel incredibly welcome, and the atmosphere was great. This is just a brief photographic glimpse into the day's events, and I'll add more soon.

Masters of Style (Somerset House) Part 1: Strong Female Figures

Prada, AW/1991-2, by Peter Lindbergh. This dress is like an enveloping dress coat, but also like a comforting duvet. Elements of both mean, for me, that the model is straddling the public/home image of herself as a woman.

Prada, SS/1994, by Peter Lindbergh. White clothing in summer is a no-brainer, but here it's got that Picnic at Hanging Rock feeling. The model (Christy Turlington) is mysterious and has a severe and potentially Gothic edge - school shoes and tights in the wrong season, and that edgy haircut, make for an unsettling but captivating vibe. She's off on an adventure and she's taking you with her.

Dolce & Gabbana, AW/1987-8, by Ferdinando Scianna. The everywoman of the Italian village suddenly becomes a star in her own right. She exudes grace, even in her dusty and bare surroundings.

Dolce & Gabbana, SS/1988, by Ferdinando Scianna. Is this woman in her own grand house, or is she exploring a palatial setting and pretending she rules it all? There's a definite fairytale feeling to this, and I love it.

Dolce & Gabbana, SS/1988 (cropped), by Ferdinando Scianna. Whilst one man pretends not to be looking, the other two are unashamedly staring at her. She can feel they're watching but she doesn't care - she's out of their league.

[All images taken from the Masters of Style booklet, complimentary with entry to the exhibition at Somerset House, London. I have reproduced these images to describe them fully, as you can't take photographs in the exhibition space itself].

Somerset House chose to produce a tribute to some of the biggest Italian fashion houses with this new display of their official photographs and adverts throughout the years. Curated by the fantastic Colin McDowell and created with the vision of Carmody Groarke, it's full of sumptuous imagery that will remind you just why these brands have stood the test of time. You can now even buy shares in Prada, though a single one will cost you nearly as much as a piece from their latest collection, because it's all about the whole Prada experience. With loyal customers around the world, and a creative vision that will draw you in, it's hard to argue with them. Seeing this exhibition has proved beyond doubt, in my opinion, that fashion is art.

One thing that blew me away in this exhibition was the way that the gaze was used in an empowering, and not exploitative way, to make the fashion models project a positive message: it's okay to want to look good. It's also okay to want to dress up, to make an effort and really push the boat out. It doesn't matter if nobody's watching, or if your onlookers do not approve. You can flaunt what you've got, and don't let anybody tell you otherwise.

I loved this show and I will be blogging about it again soon. The staff were really friendly and helpful, especially as my cousin (who visited with me) had lost her wallet. I would thoroughly recommend seeing this exhibition as it's a great insight into Italian fashion and the power of advertising.