Merry Fitmas

Merry Fitmas by sianconway on Polyvore

Oh Christmas Tree, Oh Christmas Tree - Treetopia
treetopia.com

Polar Ft7 Women's Heart Rate Monitor
saksfifthavenue.com

Altus Be Fit Look Fit 32-lb. Dumbbell Set with Stand
walmart.com

What's new, pussycat?

What's new, pussycat? by sianconway featuring kate spade

Short sleeve dress
topshop.com

Manolo blahnik
marissacollections.com

Chanel
malleries.com

Kate spade
dillards.com

Maison michel
net-a-porter.com

Vintage eyewear
etsy.com

Paul Joe lip makeup
asos.com

My dream Halloween outfit, though I'd fain wear it every other day of the year - ears and all!
Loosely inspired by Hepburn and Anne Hathaway's portrayal of Catwoman in The Dark Knight Rises.

Street Style: Frida Gustavsson

A model's job description, since the inception of the profession some time ago, has always been someone employed to wear and display new clothes - a human coat hanger, if you will. It never mattered if they dressed as bland (or as unnervingly bizarre) prior to their induction to their occupation as the designers the walked and worked for rewarded them with complementary offerings of their work. Impossible for a model to be seen dressed atrociously when they were being styled by the crème de la crème, no?

As a result of this "auto-styling", models have fallen victims of unable-to-style-themselves-osis (awfully contagious, so I hear) and have been confined to the oh so dull off-duty uniform of standard bootleg jeans, a basic tank top and utterly unadventurous heeled footwear, à la America's Next Top Model hopefuls.
However, with the emergence of individualist models (like Charlotte Free, the new face of Forever 21 - notorious for her neo-grunge style), models the fashion world over are beginning to take the plunge and break out of this shell, rapidly becoming regulars on street-style blogs and magazine columns alongside their celebrity counterparts. Step forward, Frida Gustavsson, now a regular on the catwalk despite her 19 year old youth.
For over a year I have admired Gustavsson from the safe fortification of my laptop screen, for her unmistakable beauty and seamless assimilation to le monde du mode. But it is only after coming across this image of an off duty Gustavsson that I realise that I need to sit up and pay this girl's style as much attention as I do her aesthetic physicality.

Effortlessly killing two birds with one stone, Frida incorporates two major trends du jour in her ensemble - pastels (which, unless you have migrated to under a rock, you will know dominated the entirety of the s/s catwalks) and a punchy red lip (beauty staples at Julien MacDonald, Erdem and Dior). Frida adds signature flair by injecting a tough, boyish statement to her prim and pretty, Valentino sorbet sweater, with the inclusion of a T-Bird-esque leather jacket and a pair of jeans that scream "older brother's hand-me-downs".
Accessories are as minimal as Frida's makeup, with a burst of bright colour, namely a studded oversized fuchsia clutch the model totes everywhere with her.
The potential of a burgeoning Pink Lady spiced up with an essence of Danny Zuko.

Here's to a new addition to my interior bookmarks of style crushes.

Overdoing It

In order to ease myself into this post smoothly, I'm going to inaugurate with a disclaimer; I like Rihanna and if you have had a wee gander through this blog's archive, you would get that impression. Also, I do not feel that it is anyone's place to give critic on what others wear - it's not called "self expression" for nothing, right? I don't believe in these Sack the Stylist columns that crop up time and time again in magazines - let those who are without fashion sin cast the first stone and whatnot. However, with the availability of free speech, I feel the need to vent my distaste of a particular mode that is beginning to flaunt it's ugly head. This "trend" in question being the donning of a trend from head to toe.

There is no doubt that Rihanna's style has soared since her, erm, rather risque Rated R era. With Talk That Talk, her style has flirted with grunge and underground trends that, due to this affiliation with influential people like RiRi endorsing them, have sprung forth from their commonplace underground and made the transition into the mainstream.
Boy London, a 1970's punk brand founded by Stephane Raynor and a typical example of the above "underground trends", has, as of late, received this elevated status. As seen on the likes of Jessie J, Cher Lloyd and Rihanna, herself, you can only sit and ponder how long it will take for Primark to contrive a series of knockoffs. But the issue doesn't lie with the commercialisation of underground brands that would have remained, well, underground had they not have been scouted by A-list stylists. No, the real issue is when people (just like you, Rihanna) fail to remember that you can indeed have too much of a good thing.

Rihanna appeared on The Jonathan Ross Show tonight (3rd of March for those of you without a calendar or awareness of the year that is flying in), presumably to promote Talk That Talk and, coincidentally, talk that talk. Decked out entirely in Boy London, her skirt and blouse were adorned with the brand's eagle symbol and name. She topped off the look with black ankle boots and a, surprise surprise, Boy London peaked-cap with the brand name emblazoned across, inspiring many a dud joke like this one I whipped up just now: "What's black and white and Boy London all over?" Queue a badum tish, the croaking of crickets and more embarrassingly, a wandering tumbleweed. Tasteless jokes and digressing are my specialty.
Whether the "in your face" use of the brand was to ensure Rihanna didn't forget who designed her outfit if quizzed or as a bold declaration of "I'M WITH THE TRENDS, GUYS!!!!!!" she managed to get her point across. I find it incredibly tacky. On saying that, I'm going to retreat to my original statement to protect myself from any viral whiplash (and/or umbraged feedback from Rihanna's Navy devotees) - I like Rihanna, I truly do, but there is nothing stylish in overdoing something like this, a trend or any aspect of an outfit. And Rihanna is most certainly NOT the only one.

Nicki Minaj, a major culprit in this department. Again, I like Nicki but an entire getup (weave and all) in leopard print is hardly chic, or aesthetically appealing. In fact, it reeks of laziness. Rewind a good few years back to the early Noughties, the seeds of matured Mouseketeer romance blossoming in the form of matching triple-denim ensembles for His and Her. Sometimes I wonder whether this was the real reason behind Justin and Britney's bitter split and not all that "Cry Me a River" jazz. How they even wormed their way back into red carpet events is beyond me. And for the sake of his future children, I hope JT has had that rhinestone-ridden cowboy hat burned.

So, Rihanna, sometimes less really is more. Maybe the next time consider Mademoiselle Chanel's wise words the next time you feel the need to don your brand du jour from head to toe: "Always take the last item you put on, off" - and possibly the second and third too. Everything in moderation.

Milan Fashion Week 2012: Raf Simon's Farewell to Jil Sander

The hankies were whipped out for the end of an era at the Jil Sander f/w '12 show at Milan Fashion Week, showcasing the curtain call on Raf Simon's 7 year term as creative director of the fashion house. Simons redeemed the label back in 2005, when it's future appeared hazy. Simons proved successful in his appointed task of allowing the line to develop yet conserve it's original minimalistic streak. So much so, that his final show for the company earned him a standing ovation as led by Anna Wintour.

The scene was a reflection of Simons' work - simple, artistic and with a hint of femininity. The immaculate white runway bared glass-enclosed floral arrangements propped up by bases that complementing the room's feng shui, that the band of models weaved through. Sonic Youth's eerily transfixing cover of the Carpenter's 1969 hit, "Superstar", superseded by the aptly-chosen Smashing Pumpkin's "Tonight, Tonight" filled the room, demanding the crowd's emotions and reverence. The lyric "You can never ever leave without leaving a piece of youth" holds relevance and determines the carefully chosen soundtrack as more than just a runway playlist.

Simon's final offering for the Jil Sander name began as it meant to go on. From the soft on-trend romantic pastel-hued pioneer ensemble to the contrasting black dresses towards the show's close, the entire collection was spot on. Not a hair out of place, not a hemline that could have been altered. Simons achieved his zenith with ease, this was not a collection that gave off the opinion of "try hard", that the creative director had given in to OCD qualities in order to get every detail just so. It was natural and believable, following in the footsteps of all of the past collections from the man who had taken the moribund label under his wing and revived it, without disregarding it's original philosophies.

Structures were soft, retained form as opposed to strident silhouettes. The boxy, male tailored coats were without any sort of fastening assests and took on framework of capes. Many of the models clutched their coats to their chests in a modest and respectful way, whether that was the intention or not. Alongside caped outerwear were dresses that glided over the model's figure, in such a manner that didn't seem to be asphyxiating the physiques nor hang off too loosely. The nude colours, materials (including silk) and unstructured shapes insinuated images of 1930's women's lingerie and nightwear. Silky nightdresses and slips that clung fittingly to the body with a sensual modesty about them. The soft materials of the coats lead me to believe that perhaps the attire of the bedroom was indeed the inspiration for this collection, a la Stella McCartney's s/s '12 pyjama luxe that is beginning to see the initial stirring of a trend following.

The harsher feedback spiralling ending to "Superstar" coincided with a similarly harsh contrast in the clothing. Black ensembles began to amalgamate and interrupt the pale, feminine colours, as would be expected from a fall/winter collection! These blacks gave way to bursts of reds and more daring colours and fabrics. PVC, leather, cable knit and metallic elements adorned dresses. Footwear was pointed and, too, included this metallic disposition. On the beauty front, low key was the word: lacquered, side-parted ponytails hung down the backs of the models with a neutral face bar a soft rose-pink lip.

The show's finale, roused up further by the climatic ending of "Tonight, Tonight", brought spectators and models, alike, to tears. Simons, who also couldn't conceal his emotions, met his much deserved standing ovation and praise with a few waves and kisses and dipped backstage again. And as I sit here rounding off this post, refreshing my memory through my profuse scrawled notes and replaying the video in it's entirety for what seems like the millionth time, I can't help but share the emotions as the audience in Milan last week, as if I was among them celebrating the work of an artist and, at the same time, mourning the end of his career with his patron.
Can someone please pass the Kleenex?

Mulberry Spring Summer 2012 Campaign

What do you associate with spring and summer? What images does your mind conjure up, even if somewhat generic. Is it the re-emergence of pastels following their long winter hibernation stuffed at the back of our closets that never cease to lose their appeal and charm notwithstanding their predictability? Is it the sound of waves thundering against the shore filling your eardrums, the wispy, fine upper layer of sand spilling over the gaps between your toes while the heat of the sun gently toasts the back of your legs? Or is it simply being confined indoors, watching in utter dismay, as the annual monsoon of summer, overly-familiar to Ireland and the UK, pummels to the ground?

Despite this Siberian weather we've been experiencing these past few days, we are now officially inaugurating the spring/summer 2012 season.

SS 2012 campaigns and lookbooks are cropping up all over the place like the blossoming buds of baby daffodils, poking their canary petals out of their green cocoons. The homegrown image of a commonplace English (and Irish) summer's day spent at the seaside indulging in pierside cuisine, flaked out in those deckchairs passed down by your grandparents, is captured in Mulberry's season shoot starring Lindsey Wixon and Frida Gustavsson shot by Tim Walker.

The Amazonian height of the models is overshadowed by the life size monuments of beach delicacies (99 cones in the process of melting under the summer sun, shattered shards of stick-of-rock candy and the very informal container for a meal of fish and chips - newspaper) almost tower over the models. The apt location of Brighton Pier, famous for it's connotations of seaside holidays and it's equally as famous fairground delight boardwalk, provides the backdrop for the shoot.

The clothes themselves are the epitome of the warmer months; not a harsh, bold berry tone in sight! Bright, feminine, fresh was the key with this collection, light textures and and short hemlines to soak up the warmth and sunshine but the precaution of lightweight coats and jackets because you never know when the rain will decide to spew itself all over your picnic.

The colour scheming is so very appropriate - just look at those sunny yellow mackintoshes, with complenting platform sandals and Holiday Bayswater handbags. Is it just me or does the colour palette remind you of ice lollies and ice creams? The soft chocolate browns that reoccur throughout. Especially the striped colour block dress worn by both models - the similarly patterned and coloured ice lollies that you begged your mother to buy you as a child (e.g. Twister and Loop the Loop) immediately sprang to mind. And if you have no clue what I'm referring to, click here for an insight.

During the process of writing this post, I paused often to dwell on the occasional instillation of nostalgia that a mere look at the images gave me; sand in your sandwiches, collecting bucketfuls of pearlescent shells only to be distraught when told you would return home without them as they would, and I'm paraphrasing here, "stink up the car" and lounging for hours on a sandy landscape submersed in a book, pausing every now and again to listen to the buzz of people doing the exact same thing as you or the jingle of the passing ice cream van followed by hoards of people or the gulls squawking overhead.

The power of advertising, eh?

Paris Fashion Week: Jean Paul Gaultier's Homage to Amy Winehouse

 

To be quite frank, I never thought I'd see the day where "Amy Winehouse" and "haute couture" would share the same sentence, but the late Back to Black singer was the clear inspiration for Gaultier's Spring Summer 2012 collection in Camden this week.

The collection collaborated and captured Amy's style signatures and the catwalk was awash with beehived bouffants, winged eyeliner, above-lip beauty spots and the inclusion of several models indulging in a cigarette mid-strut. 

Retro silhouettes and attributes, such as cinched waists, elongating pencil skirts and flaring rockabilly dresses were prominent, as were typical Winehouse staples: an array of tropical colours of which she was so fond, peek-a-boo bras, pencil skirts, hooped earrings and even a Fred Perry-esque dress all tailored to accommodate the singer's style flirtations with a manifold of past generations and urban thrift-chic.

Gaultier's own signature was brandished among the collection, merging his infamous corsets via luxurious silk, hourglasses dresses and long, billowing trench coats as a seal of self designation. 

The tradition of ending a couture show with a bride was altered, and allowed each model to be transformed into a bride; donning black veils, as the barber quartet in the background chorused Winehouse's hit "Rehab" evoking the spectator's emotions.

However, the collection has resulted in a strict division in opinions between those close to Winehouse and celebrity peers. Front row onlookers, Beth Ditto and burlesque icon Dita von Teese, were collectively moved by the show while Mitch, Amy's father, has abelled the usage of Amy's image which he feels "glamorises some of the more upsetting times of her life" and is in "bad taste". Kelly Osborne, a close friend to Winehouse, took to Twitter to voice her opposition to the collection, declaring Gaultier as "lucratively selfish and distasteful".

Despite this, the clothing has shown a much more wearable side to haute couture - a turquoise sequined pencil skirt isn't too extravagantly out of the blue, now is it? And due to it's controversy and mixed opinions, has effectuated a talking point - is that not the overall aim of a designer? To have their creations on the lips of the world, whether it be in a negative or positive light.

What do you think? Do you feel "No, no, no!" (I couldn't resist) that Gaultier gone too far and "stolen" Amy's look for his own personal gain? Or do you feel his tribute was saturated with nothing but affection, celebrating the life of a musical and style icon?

Katy Perry's New Look

If it weren't for that burst of candy pink hair, I wouldn't have recognized Ms. Perry here. Gone are her usual theatrical get ups with all the frills and thrills of a modern pop star's desire for the downright zany clothing. What we are left with, is a stripped down (simple in comparison to her quotidian style) version of the singer.
Minimal accessories, barely-there hair with no extravagant detailing and the pièce de résistance; a monochrome shirt baring Renaissance style faces with an essence of fun slipped in, as moustaches are added in. By now, I think you all know that anything Renaissance goes down a treat with me.

I adore this new, much more laid back side to Katy, complete with a retiring, modest smile. She was papped during the same night, getting cosy with Sky Ferreira - one of the newest "it" girls on the scene. Maybe Sky's grungy style is rubbing off on Katy?