The 99p Dress by OMG: A Fashion Marketing Masterclass

Raising eyebrows but ticking the trend boxes, this dress costs just 99p.

[Image via OMG Fashion].

If you dig beneath the glossy surface of retail, one of the most obvious marketing tactics to draw people in is to offer certain products as 'loss leaders'. These are the heavily discounted items that you're not making money on - in fact, you'll more than likely be selling them at a loss - but they drive new customers into the shop who then end up buying a shed-load of items along with that dirt-cheap t-shirt or DVD, so everyone goes home happy. One of the most obvious cases of this is the newly available dress by OMG Fashion (nope, I hadn't heard of them either) which was put on sale for just 99p today. No, that's not a typo. I want to explore the positives - basically their marketing strategy - and the negatives, as well as the best counter-argument that I believe charity shops and environmentally-friendly retailers could launch. 

Marketing Gold

So much traffic was generated to the website that it crashed and the item is now marked on the homepage as 'Out of stock until further notice'. Although many of the shoppers may have only snapped up the bargain and not been tempted by its much pricier neighbours, such as the bandage dress for a grossly inflated £59, the majority probably stuck something else in their virtual basket too, so the loss wouldn't have been astronomical to the company. What's more, they've managed to generate a heap of publicity with their marketing tactic, generating traffic and purchases. It's blatant and obvious and a bit cheap, but you can't deny that it works.

Financial Issues - Fair Wage vs. The Recession

Strangely, one of the biggest gripes that the public had was that the dress was likely to have been made in a sweatshop by impoverished children; something that shoppers don't normally worry about when they buy from notorious sweatshop labour abusers like Gap and Nike. Somehow it's only when the price we pay is low, rather than grossly inflated, that we are exposed as buying into the exploitation of workers, as if the 99p dress is the source of all evil. Well, I don't think it is (though it may be symptomatic).

The thing is, though Britain may have been labelled as being 'out of the recession', for many of us we are really, really not. If someone offered you a Christmas party outfit for less than the price of Heat Magazine, well, it might be quite tempting, especially considering the amount you'd be spending on the rest of your evening. Although I do like to be ethical where I can, such as being a member of Amnesty, and I've worked with several ethical labels in my career, I'm not going to deny that I shop in H&M and Primark too. I can certainly see the financial appeal of this piece, whether it sits comfortably with me or not. It's fun and flirty and it would suit young girls who want to let their hair down and forget financial issues. However, I do think it presents a golden opportunity for ethical organisations to get their own back.

Sweet Charity - How to Challenge OMG

The way that charity shops should tackle publicity such as this, which emphasises the convenience of throwaway fashion, is to take on the 99p challenge. I think a great counter-argument would be to up-cycle dresses in charity shops, spending 99p on the materials to engineer the up-cycling, such as second-hand buttons, remnants of fabric, sequins, vegetable dye, wax for a batik effect, etc. Meanwhile, ethical labels could blog about the dress and its negative impact, then create pieces that make the wearer feel a million dollars rather than under a quid.

As you can see, the dress really did spark a lot of mixed thoughts for me. I won't be buying it, though I'm not going to pretend that I'm some kind of ethical goddess, because I'm also partial to the lure of the incredibly cheap high street and online retailers. Whether you go and buy it or not, you have to admit that it's a controversial move and one that is undeniably interesting to both fashion lovers and haters.

Lakme Fashion Week: India's Take on A/W 2012

Felix Bendish knows how to open at Lakme Fashion Week.

Far from there just being four style capitals of the world, Fashion Week takes over in many nations twice a year and brings the new season to buyers and press. You might not get to read as much about them unless you specifically look for designers or round-ups, but it's worth keeping an eye on what the catwalk has to offer when it's not based in London, Paris, Milan or New York. 

Today I'm turning my attention to India, where Lakme Fashion Week is a huge event. I watched the Bollywood film Fashion a few years ago and have been admiring the country's creative output ever since. Here are the designers who you should be watching, if autumn/winter 2012 is anything to go by...

 Aarti Vijay Gupta produced a really intelligent and graphic collection.

Mixing quirky sketches and precise colour wheels and educational charts, this was Aarti Vijay Gupta's exercise in how to add a touch of the cerebral to your clothes. The glasses worn by the models might have taken the geek motif a bit too literally but otherwise this was a really well-produced range that wouldn't look out of place in a British boutique. I definitely want the last dress in the image above - the anatomical print is just too good to miss.

 Dolly J's take on autumn/winter reminded me a lot of Ralph Lauren.

I could see a lot of Ralph Lauren's extravagant evening gowns and autumnal colour palette in Dolly J's range, but she gave it an injection of personality that added Bollywood flavour with the embellished top seen on the left and the layers of different fabrics and finishes on the chest of the dress on the right. And, whereas Lauren kept things severe with Downton Abbey decorum, Dolly's outfits were a lot more free-spirited.

 One of the coolest trends I spotted was 'half and half':

cutting vertically into the design with a different colour or style.

L-R: Kiran &; Meghna; Gaurav Gupta; Tahera Peeran.

I love the cut-and-paste style of panelled clothing (apart from horrendous 90s patchwork denim - yes, it still makes me shudder) and when it's done as well as these three examples then it shows how much fun you can have when you divert from the norm. My favourite is Gaurav Gupta's pink dress with half a sleeved jacket, which takes a leaf out of Vivienne Westwood's book with an Anglomania feel.

 Some designs gave a strong nod to Western fashion. 

L-R: Drashta Sarvaiya; Nupur Kanoi (looking very Balmain); Mrinalini.

 A trio of eye-catching shapes on the catwalk that caught my attention. 

L-R: Gaurav Gupta; Virtues; Pankaj & Nidhi. 

Virtues went for a sculptural edge with a distinct Gothic-meets-folklore feel.

Another unmissable collection that I was drawn to was the folkloric Virtues, with heavy boots and bold trims contrasting with flowing fabrics. What's more, most of it was distinctly wearable and wouldn't look out of place on the red carpet or in the pages of Western fashion magazines. I definitely think that more fashion editors should look to Indian designers for inspiration and photo shoot material, as there's a wealth of talent out there.

[All images taken from Vogue India and the official Lakme Fashion Week website].

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.

Magazine Snippet: Natural Beauty from Viola Davis for the LA Times

[Cover image from the LA Times Magazine, February edition]

I may be one of the only people in the world who hasn't read The Help, or seen the film (sorry, I've been too busy with books on anatomy, and raving about the amazing cinema experience that is The Artist), but I do know the star of its big screen adaptation and she looks amazing here. Instead of wearing an expensive weave or wig, as she does for films and premieres, Viola Davis is shown with her natural hair. It's great to see her not conforming to the Hollywood ideal of manageable straight (preferably blonde) hair that's been tweaked to within an inch of its life; her own short style looks great, and it really frames her face. Meanwhile that dress is brilliantly quirky -  not one for the 9 to 5, but it's perfect for creating an edge on this shoot.

[Image from the LA Times online]

Aside from the empowering hair, this shoot is also about equally powerful clothing.The ruff collar on the left is so overtly theatrical and over the top, yet Viola manages to wear it, rather than letting it wear her. As for the outfit on the right, it's the kind of ensemble that wouldn't look out of place at Fashion Week. With the petticoat peeking out and the killer Hollywood sunglasses, this is a woman who deserves to be noticed.

[Original image from the LA Times online, customised by me]

The playful use of structural clothing and a monochromatic colour palette have really made this shoot for me. It could have easily been an exercise in showing the latest spring florals or kooky prints, but then it would have detracted from the strong poses and Viola's natural look, which seems anything but manufactured. This is a brilliant example of how to let your cover star do all the talking, and not just use her as a clothes horse, but to choose pieces that really suit her Oscar nominee status.

Workwear Dilemma: There is no dress code!

Today I started my new job (though obviously won't be discussing the company, as this is my personal blog, and I always think it's important to keep my professional life separate). The people seem nice, the desk is wonderfully shiny, but I am utterly baffled by the sartorial side of things. Why? Because there are no regulations on dress code. Although we deal with the public, this involves using the internet and social media rather than face-to-face encounters, so most of the staff have decided that they'd rather opt for something a little more casual than your standard 'career woman/man' look.

Obviously comfort is a key factor, and it should take precedence over style if you really want to be relaxed, but I find that there's something psychologically positive about making an effort before you head to the office. You just feel official and organised in knee high boots; you always get a buzz from applying red lipstick. You feel like someone with a vocation, rather than just a role. I didn't quite understand how some of the team members could stroll in with hoodies, 'cosy' shoes and jeans, but clearly it's not affecting their performance so they must be doing something right, and maybe I am too preoccupied with stereotypical ideas about employment and regulations.

The question is: will I be sloping into work in six weeks' time in my pyjamas, having been a little too inspired by the lack of regulations? And will anyone be able to criticise it? I'll let you know, should it come to that. In the mean time, I'm still enjoying the composition of an outfit and I've got about half a wardrobe full of 'smart' clothes that need to get an airing, so I'll stick with making an effort, thanks.

The House of Eliott: 1920s fashion inspiration

[All images my own, taken as screen grabs from ITV3].
Recently on British television, we've been treated to a re-run of a cult period drama involving two sisters who establish their own fashion house during the 1920s. The House of Eliott involves quirky costumes and sharp dialogue as the duo navigate their way through the ups and downs of the industry. As the above image demonstrates, the long hemlines and ever-present hats are actually quite relevant to today's style - maxi skirts have become the staple choice for many women, whilst headgear is perfect for A/W11-12, whether it's a bowler, a trilby or a cloche hat.

Beatrice Eliott, the older of the sisters, is seen here rocking a pre-Gaga feathered headpiece and a sheer dress. Much of the fashion house's early success comes from wearing the clothing to society parties and getting it noticed by potential clients. It's basically the 1920s equivalent of subliminal advertising.

Younger sister Evangeline (known as Evie) opts for a velvet halterneck dress and a metallic floral headband. Because of the age gap between the pair, with Evie being 18 and Beatrice being 30, we get to see how fashion can transcend age boundaries and how flexible it can be.

Ignoring the not-very-1920s lipgloss, this image is a great example of period dressing. Evie's high neckline is typical of the time, as daywear still contained a lot of references to Edwardian trends and often involved covering up. Her floppy hat, with its striped band, gives a nod to the tricorn shape but has been updated in soft black fabric.

Did I mention they like hats? Beatrice's statement piece is this matte black choice, which she's paired with a blazer and a pinstripe satin shirt. Her use of tailoring shows that she means business and it emphasises her determination to survive in a masculine world.

Long live the strong fashionable female!

To get the look on the high street, try these:

• Topshop is great for hats and hairpieces. Last year it had a popular range of woolen turbans that were worn by Kylie Minogue. This year there's plenty of floppy 70s styles (think burgundy and tan) and some knitted headbands.
• Galibardy has plenty of intense jewellery that will make a statement, whether it's a cocktail ring or a vintage-looking necklace. Wear with satin and loose hair.
• Marks and Spencer currently has a brilliant black pleated maxi-skirt in its Limited Collection that would work well with a tailored white shirt and hobnail boots, if you want to give a nod to early 2oth century dressing.
  

LFW: Knots and Finery for Ilincic (topped off by a wooly hat)

[Images from Elle UK].
A show full of contradictions, but not awkwardly so, Roksanda Ilincic's SS/12 collection gave us the modern formal dresser who cannot let go of her classic beret or her shocking pink hair. She likes classic shapes and flamboyant evening-wear lines, but she also needs to be noticed. A wallflower she is not. The orange rope belt in this image was a recurring element, as were the colourful hats. Meanwhile we had reliable, high quality fabrics in sumptuous shades - the grey and olive work well together.

This bell shape is now unforgettably associated with Mary Katrantzou's intricate designs, but Ilincic has taken it back for an olive gold gown that is more straightforward than the erratic nature of Katrantzou's kaleidoscope pieces. Ilincic's dress almost feels like it could have been adapted from a Regency ballgown with a bustle.

The same fabric is now reinvented as a sheath dress with a pintucked bottom section. Adding neon orange into the mix with shoes and another beret, the olive gold becomes almost mustard and we are seeing it in a different light.

A further, more basic piece is this pink number. There's a colour block overload (apart from those white shoes) which is palatable as the hair and wool take on the cerise shade in different ways to the clothing itself. This feels like a lesson in colour mixing and dyeing, but it's a lesson you want to get involved with.

Now our heroine is feeling like dipping her toe in turquoise, yet she can't let go of that cerise. As ever, the colours are pure and the aesthetics are clean. There is no fussy layering or embellishment, just a single layer to absorb.

That grey is back from image #1! And it's been paired with the second pattern of the collection, but this time it's mainly cream and more geometric than image #2's scattering of purple. Those fluted sleeves and fluid trouser legs add volume where our Ilincic woman wants to be noticed whilst in monochrome.

Discarding the beret, our heroine hints that she can grow up when she needs to, but those sleeves are probably a sign of disorder and freedom. They contradict the neatness of the main body and they interrupt the shape of the arm. I'd love to see the high street take on this shape - it would be a great antidote to the tired satin party dresses that people stuff themselves into every time there's a 'special occasion'. We need more Ilincic women, please!

More New York Newness

[All images from Style.com]. Jenny Packham is a firm favourite with celebrities and she's gone stellar since Kate Middleton was spotted in her creations, so it's refreshing to see that she hasn't lost any of her charm. This gown is beautiful in buttery yellow and its low neckline is balanced out by the good draped coverage on the lower body. The ribbon belt adds to the innocence of the whole look.

Here's the naughty little sister of the previous dress: this fiery tomato red shade is incredibly popular at the moment (it was a hit with the cross-season 2011 trend of lurid stripes and clashing pink and red hues). The light ruffling adds interest without being too fussy. I would pair this with blue nail varnish and some burnished gold rings.

Like confetti or falling petals, this design is going to be a winner for women who have the budget to really go to town on an evening dress. It's feminine but not clingy, so if you don't have the curves of Christina Hendricks then you won't feel panic-striken. The pattern emerges from a central point on the waist and it nicely skims the hips. Expect lots of high street adaptations soon.

An excellent red carpet shape (again in tomato red), this is only a good look on the flat-chested or you end up seeming a bit too keen with the cleavage and the split leg detail. I would want a dress with this shape even more if it was dip-dyed at the base a little (I'm thinking of Gwen Stefani's wedding frock as inspiration).

An innovative shape (perhaps not one for Kate Middleton), it would work better in a jewel colour than white, but that single pin-tuck really sets things off.

Cranking up the trend factor a notch, the white lace with the Edwardian top detailing is clashing modern and traditional very nicely. I think the 3/4 sleeves are a great addition, too, because the obvious Edwardian thing is to go for a full sleeve, so this feels more imaginative. And if you need a Jenny Packham factoid, trivia fans, take this: Jenny's brother is the wildlife expert and presenter, Chris Packham. Yes, really.

Onto another ladylike show, this time at Creatures of the Wind. The red and turquoise clash is brilliant (I often mix it up myself) although I have a feeling that non-models would add a waist belt to this ensemble, otherwise you end up looking a bit square.

The freshness of this green print is gorgeous - yes, green and floral is obvious for Spring/Summer, but the bib addition and the darker green socks keep this quirky rather than stuffy. The mid-calf length is a continuation of AW/11's midi skirt trend. This dress would look brilliant underneath a leather jacket, to mess it up a bit.

The very geometric shape is clever and gives a nod to origami. The fabric seems a little heavy for summer, but the tailoring means that this is your smart outfit sorted in one item. You could pair it with loads of different shoes (wedge boots, flat ankle boots, stilettos, kitten heels, brogues) and it would always work.

There's a much younger feel to this image than the previous ones - that drop waist completely hides the hips and gives a nod to the sort of dresses that we all wore as girls. The deconstructed hem is a great addition, whilst the ankle socks and strappy sandals continue the youthful vibe. As soon as I saw this dress it reminded me of so many pieces by COS (H&M's more up-market brand), which always sell quickly, so I know this is going to be a well-copied and well-received style.

The Thorn Birds: a cult series with serious fashion credentials

[Images taken as stills by me, from Youtube footage of The Thorn Birds].

If you can excuse the worrying moral implications of a drama that involves a man falling in love with a woman he first met when she was a young child and he was the local priest, there’s a lot to enjoy in The Thorn Birds. This 1980s serialised adaptation contains dodgy fake Australian accents, rebellious teens and one of the most unlikely style icons I’ve ever seen: that of an evil but wealthy old crone, Mary Carson. Despite her machinations, she has an excellent sense of style and really brings the 1920s to life, making her instantly watchable. Here you can see her in an Art Deco-inspired piece with intricate beading and vertical lines to give the illusion of height and stature.

As you can see in this screenshot, Mary Carson can change from well-mannered lady to bitter old woman at the drop of a hat. She loves to wear lace, which seems fitting for her personality as it is a fabric that can be both delicate and suggestive, depending on how it is worn.

No-nonsense Mary works the newer fashion for sensible day clothes as she realises time has moved on since the innocent days of hosting balls and courting. This is an outfit more suited to the location of the story, an Australian farming community, but it also catches my eye as being similar to Ralph Lauren's recent SS/11 designs which heavily featured white, camel and brown.

Yet here goes Mary, swinging back into eveningwear again, but this time in her favourite midnight blue and with a distinct nod to the 1920s. She never needs to wear screamingly loud colours or ostentatious clothing, because her personality does all the talking (and shuts everyone else up). Mary Carson, you may be a dragon, but I want your wardrobe.

If there's an old tv series that's made you covet the costumes, share your thoughts below.