Vogue - February 2014 UK - PDF Free Download (2024)

FEB

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coat

for all seasons POINTS OF VIEW in bed with Leo DiCaprio in love with David Bailey

Spring fashion The ﬁrst look

Black & white Fashion’s perfect pair

END OF THE RUNWAY

Will the show survive?

Shopping maths

What you buy v what you wear SKIN SOS Expert names to call

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B OTTEGAVE N ETA.C O M

FEBRUARY 2014

REGULARS

87 COVER STORY GET YOUR COAT

47 EDITOR’S LETTER

From a polka-dot trench to cornﬂower-blue suede, a newseason coat for every occasion

50 VOGUE NOTICES

Behind the scenes of this issue 56 VOGUE.CO.UK

What to look out for on the website this month 110 NOTEBOOK

Win a Bafta makeover, plus other new-season delights

VOGUE ARTS 95 SWATCH OUT

Textile printing is the fabric of art history, as a vivid new exhibition reveals

199 STOCKISTS BACK PAGE MOODBOARD

Fashion goes high-tech

SPY

“Meet the newest models on the international scene” “IN THE FOLD”, PAGE 138 106 FIGURE STUDY

77 SPRING FEVER

With our 35 fresh buys, a new wardrobe is a real rite of spring

97 COVER STORY IN BED WITH LEO

Exhibitions, after-parties and seamstresses: the Armani Privé show in New York was greater than the sum of its parts

COVER LOOK

Margot Robbie on the drawbacks of being Leonardo DiCaprio’s on-screen wife

IN VOGUE 101 COVER STORY SHOW BUSINESS

109 EVENT: THE VOGUE FESTIVAL 2014

In an increasingly digital world, will the fashion show survive?

Get the date in your diary to spend a weekend with Vogue

Georgia May Jagger wears denim jumpsuit, £1,500, Balmain, at Harrods. Get the look: make-up by Rimmel. Face: BB Cream. Eyes: Scandaleyes Mascara in Black; Professional Eyebrow Pencil in Hazel. Lips: Lasting Finish Lipstick in Nude Pink. Hair by Pantene. Volume & Body Mousse, Volume & Body Hairspray. Hair: Sam McKnight. Make-up: Lisa Butler. Set design: Andy Hillman. Digital artwork: D Touch. Fashion editor: Kate Phelan. Photographer: Patrick Demarchelier 29

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insideVOGUE 172 COVER STORY PORTRAIT OF A WOMAN

On the eve of a new exhibition, David Bailey talks about the women he has photographed, while his wife, Catherine Bailey, describes living and working with a legend

“Alexander Wang brings a sporty spin to Balenciaga” “SPRING UNCOVERED” PAGE 114

180 COVER STORY DO THE MATHS

Solving that age-old equation: how many of those new-season purchases do we actually wear? Photographs by Benjamin McMahon

FEATURES 150 EARTHLY DELIGHTS

The British passion for gardening has been reﬂected in their fashion for centuries. Nicola Shulman explains why 156 MEET MISS JONES

Felicity Jones is a girl on the brink of Hollywood – with her feet ﬁrmly on the ground. Portraits by Alasdair McLellan

BEAUTY FASHION 114 COVER STORY SPRING UNCOVERED

195 READY, SET, GLOW

196 SOAP STORY

Claudia Schiffer’s tresses are among the most coveted in the business – who better to create a line of haircare?

128 POP ART

The London home of Terry De Gunzburg is as seamless and sublime as the make-up she creates. Photographs by Martyn Thompson 168 BUILDING THE FUTURE

Meet civil engineer, humanitarian and all-round ﬁxer Jo da Silva – a woman who gets results. Photographs by Philip Sinden 36

Wow the critics with paint-box bright accessories in bold, graphic shapes. Photographed by Angelo Pennetta 138 COVER STORY IN THE FOLD

On a canvas of black and white, designers’ creations become intricate feats of construction. Photographed by Josh Olins

Which type of sporty are you, asks Calgary Avansino Welcome to a dazzling new age of enlightenment

Crystal crocodile clips at Christopher Kane, mountaineering rope at Chanel… The new collections are a revelation. Photographs by Patrick Demarchelier 162 GOLDEN TOUCH

192 FITNESS TRIBES

SUBSCRIBETO 187 GOLDEN RULES

This season, abide by the details – starting with a gilt trip 189 COVER STORY SAVING FACE

Vogue’s guide to the best dermatologists, whatever your dilemma. By Kelly Gilbert

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TIFFANY ENCHANT™

PATRICK DEMARCHELIER; JASON LLOYD-EVANS; TIM WALKER; VICTORIA & ALBERT MUSEUM

CLOCKWISE FROM LEFT: PARIS IN BLOOM AT THE DIOR SPRING/ SUMMER SHOW (PAGE 101); PATRICK DEMARCHELIER SHOOTS THE NEW SEASON (PAGE 114); BOTANY MEETS FASHION (PAGE 150)

Shoots & LEAVES I n a month’s time I will be setting out on the biannual fashion-show circuit for the autumn collections, while in this February issue of Vogue we introduce the spring collections, seen on last autumn’s catwalks. It’s a timetable and schedule that has been in place for decades, creating a highly populated fashion caravan of designers, editors, buyers and models, moving from city to city for a month. While the shows can undoubtedly be inspiring and are certainly informative, I thought it would be interesting to look at whether their existence in their current format makes sense now. For “Show Business” (page 101), Vogue’s fashion features director, Sarah Harris, discusses this question with the

many interested parties who come together at show time. As in the case of fashion, gardens are entirely seasonal; in “Earthly Delights” (page 150) the link between the two is beautifully pointed up, and in particular the way English fashion has been inspired and affected by the outdoor life of the garden lover. In a declaration of interest, I should point out that the writer, Nicola Shulman, is my sister and the article is to tie in with Fashion & Gardens, a gem of an exhibition she is curating at the acclaimed Garden Museum. London is ﬁlled with specialist historical and educational treasures, and this museum is one of those, known to every garden aﬁcionado but possibly

not to all fashion lovers. Where else will you ﬁnd a show that points out how dresses at court once depicted exotic ﬂowers from New World trading posts, and the link between the popular trenchcoat of today and the lifestyle of the lady gardener? On another note, there’s little I enjoy more than an inconsequential fact, and “Do the Maths” (page 180) is ﬁlled with them – ﬁve brave women allowed us to track their fashion spend over the past season, calculating which pieces had the most wear and which turned out to be the duds. It’s a riveting score chart and demonstrates that price is no determiner of use, at least in the short term of one autumn/winter. Perhaps we should revisit them in a year and see which pieces make the cut into another autumn.

notices All about this month’s issue

SILVA SERVICE An extraordinary engineer, Jo da Silva builds homes – and rebuilds lives – often working in areas following natural disasters like Typhoon Haiyan, which devastated the Philippines last autumn. She talks to Jo Ellison in “Building the Future” (page 168). This isn’t the engineer’s Vogue debut: in January 1997 she was singled out (above) in an article celebrating British talent as “the jasmine in the concrete jungle; [who] thrives in empty spaces and dark tunnels”.

Model of CONTROL

THEN

Girl of the moment GUCCI’S LUXE SPORTSWEAR, IN THE COLLECTIONS SHOOT (PAGE 114)

FAR LEFT: GRACE CODDINGTON, PHOTOGRAPHED BY DAVID BAILEY FOR VOGUE, 1960. LEFT: BAILEY WITH HIS JACK RUSSELL, PIG

NOW

On page 156, actress Felicity Jones discusses her quest for perfection, and the rise and rise of the British actor. Jones, who plays Charles Dickens’s mistress in The Invisible Woman – an affecting film directed by, and starring, Ralph Fiennes – began her career young. One of her first roles was in The Treasure Seekers (above left), aged 13.

LIFE THROUGH A LENS Celebrating the National Portrait Gallery’s exhibition of David Bailey’s photography, Bailey’s Stardust (February 6 to June 1), Catherine Bailey recalls her life in front of her husband’s lens in “Portrait of a Woman” (page 172). The photographer began his career on British Vogue more than 50 years ago, where one of the ﬁrst models he shot was Grace Coddington. Coddington later admitted: “I had a little crush on Bailey… He was better-looking at the time than any of the Beatles.” Of all Bailey’s female subjects, however, a favourite must be Pig (left), his beloved Jack Russell and long-time studio companion. 50

DAVID BAILEY; PATRICK DEMARCHELIER; MATTHEW EADES; TOM FORD; REX FEATURES

Vogue’s fashion bookings editor, Rosie Vogel (above), describes her job as “the mission control for the fashion department: I organise all the shoots, logistics, schedules, casting, budgets and travel”. Vogel is a great champion of British models, so “Spring Uncovered” (page 114), featuring cover star Georgia May Jagger as well as Sam Rollinson, Malaika Firth and Charlotte Wiggins (right), is a story particularly close to her heart.

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HE SAID, SHE SAID

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From Audrey Hepburn and Coco Chanel to Lou Reed and Karl Lagerfeld, we’ve collated the fashion quotes by which to live a stylish life.

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FROM TOP: METALLIC LEATHER, £1,145, LANVIN. LEATHER WITH DRAWSTRING, £440, JW ANDERSON, AT AVENUE32.COM. LEATHER WITH METAL EYELET DETAIL, FROM £1,180, CELINE, AT SELFRIDGES. PHOTOGRAPH: PAUL BOWDEN

WHAT TO WEAR RIGHT

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COOL SACKS: IN A SEASON OF EASE, JUST GRAB AND GO

COMPILED BY EMMA ELWICK-BATES

3 Spring FEVER

The 35 buys set to invigorate your wardrobe – power-punching colours and canny ideas abound 77

DETAILS, DETAILS, DETAILS: TRY ON 3D FLORALS, TRIBAL FEATHERS OR MEXICAN EMBROIDERY

RALPH LAUREN BLUE LABEL EMBROIDERED WOOL-MIX JACKET, £620

5. RAG & BONE COTTON SWEATER, £295

6. MONCLER GAMME ROUGE FEATHER SKIRT, £426

4 10. DOLCE & GABBANA WOVEN-COTTON AND LACE DRESS, £4,775

7. LOUIS VUITTON DENIM JEANS, FROM £330

8. TORY BURCH COTTON-MIX TROUSERS, £255

9. SALVATORE FERRAGAMO COTTON AND LEATHER SKIRT, £979

14 ANYA HINDMARCH METAL CLUTCH, £995

RAW MATERIALS: BOTANICAL PRINTS ARE A NATURAL MATCH WITH INDIGO RAFFIA

11. DRIES VAN NOTEN SILK/COTTON BLOUSE, £605, AT HARVEY NICHOLS

13. ERDEM EMBROIDERED LEATHER JACKET, £4,480, AT NET-A-PORTER.COM RUPERT SANDERSON LINEN AND RAFFIA HEELS, £525

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NICHOLAS KIRKWOOD RAFFIA SANDALS, £595

15. & OTHER STORIES NEOPRENE JACKET, £125

17. DIANE VON FURSTENBERG EMBROIDERED COTTON DRESS, £765

18.ALICE & OLIVIA SILK SKIRT, £620, AT HARRODS

19. LOEWE SUEDE SHIRT, £2,495

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24 79

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NOTICE ME WHY Because nothing radiates carefree spirit quite like an energetic burst of brave, headturning colour. It’s infectious. HOW TO WEAR With minimal black leather ankle boots and a sweep of red lipstick. WHERE TO WEAR To a private view – sup co*cktails while admiring Richard Deacon’s sculptures at his Tate Modern exhibition opening.

CARACTERE SATIN, £525, AT HARVEY NICHOLS

CALVIN KLEIN COLLECTION TWEED, £4,710

Get your COAT Step into spring with a cover-up to see you through sunshine, showers and beyond, says Naomi Smart

SPORTMAX SUEDE, £2,420

MIU MIU LEATHER, £5,050 BY MALENE BIRGER CREPE, £379

TOPSHOP CREPE, £110

BURBERRY PRORSUM

WHY Because there is something wholly cheering (not to mention flirtatious) about slipping into the most feminine of hues. HOW TO WEAR With indigo denim and grey cashmere. WHERE TO WEAR To a lunch date at the Orangery at the first sign of spring.

JIL SANDER

JASON LLOYD-EVANS; SUDHIR PITHWA; JODY TODD

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TOMMY HILFIGER NYLON, £325

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CHRISTOPHER RAEBURN RECYCLED NYLON, £995

SACAI

WHY This season, designers revise the everyday rain mac into an unexpectedly chic cover-up; roll sleeves to the elbow and pull in a drawstring waist for definition. HOW TO WEAR With modernist silver jewellery and a power ponytail. WHERE TO WEAR On a weekend city break, cycling along the tranquil canals of Amsterdam.

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URBAN WATERPROOF

SOPHIE HULME COTTON, £545, AT AVENUE32.COM

BOSS EMBELLISHED COTTON, £430

WHY Because everyone knows the trench is a classic but those truly in the know take theirs with a twist. Consider baby-blue suede, or a jaunty smattering of ivory polka dots – both feel brand new for now. HOW TO WEAR With a navy silk slip-dress and suede platform heels. WHERE TO WEAR To an evening garden party at Petersham Nurseries.

ANTIPODIUM SUEDE, £899

ZEYNEP TOSUN SILK, £1,142

JASON LLOYD-EVANS; SUDHIR PITHWA; JODY TODD

JASON WU

MICHAEL KORS

ALEXANDER WANG

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arts

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ABOVE: PICASSO AND HIS WIFE, JACQUELINE ROQUE. SHE WEARS A BLOUSE MADE UP OF ONE OF HIS TEXTILES. RIGHT: ANDY WARHOL OUTSIDE NEW YORK CAFE SERENDIPITY 3. HE DESIGNED TEXTILES FOR CAFE OWNER STEPHEN BRUCE’S FASHION COLLECTIONS

JASON LLOYD-EVANS

HERMES

FARMER’S DINNER, BY JOAN MIRO FOR FULLER FABRICS (1955)

in 1913. They blurred the line between ﬁne and applied art, turning their hands to furniture and fabrics, and art into enterprise. Their only hallmark was quality: works were shown anonymously to ensure they were bought for craftsmanship alone. Textile design moved up a gear after the Second World War: Miró, Moore and Matisse all reproduced prints on chiffons, cottons and organzas – creating art for all – and Picasso’s designs were printed on everything but upholstery: “Picassos may be leaned against, not sat on,” reads a curatorial note. The show couldn’t be more timely. Painterly prints abounded on the s/s ’14 catwalks: there were Fauvist ﬂowers at Hermès; graphic portraits by illustrators such as Gabriel Specter at Prada; colourful palette prints at Chanel, displayed against the backdrop of a bespoke Chanel “art gallery” space; and vivid swipes daubed the clothes at Céline. The message is clear: this year, one should wear a masterpiece on one’s sleeve. Q “Artist Textiles” is at the Fashion & Textile Museum, SE1, from January 31 to May 17 (Ftmlondon.org) CHANEL

abrics designed by artists including Picasso, Warhol, Miró and Moore are the stars of a new exhibition at London’s Fashion & Textile Museum. Picking up a lost thread in art history, Artist Textiles – partly inﬂuenced by Geoffrey Rayner, Richard Chamberlain and Annamarie Stapleton’s book of the same name – forms a technicolour patchwork of twentieth-century design, and displays many rare swatches for the ﬁrst time. Bloomsbury artists Roger Fry, Vanessa Bell and Duncan Grant ignited the fashion for textile design at the Omega Workshops

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A new exhibition celebrates the colourful history of artists’ textiles. By Liam Freeman

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WANT TO GET AHEAD IN FASHION?

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arts

ROBBIE ON THE SET OF THE WOLF OF WALL STREET. PHOTOGRAPH: BRIGITTE LACOMBE. INSET: WITH ON-SCREEN HUSBAND DICAPRIO

In bed with L E O Margot Robbie explains why a dream role opposite Leonardo DiCaprio turned out to be far from romantic. By Violet Henderson

n the list of female fantasies, playing Leonardo DiCaprio’s onscreen wife scores pretty highly. But Margot Robbie – 23 years old, blondehaired, voluptuous and with skin as golden as the Australian coast from which she comes – was repulsed by that very prospect when she first read the script for The Wolf of Wall Street. “I saw the character as a sex object,” she says in her native twang. “I’d no interest in playing a woman like that.” Bringing Martin Scorsese and Leonardo DiCaprio back together for their sixth collaboration, the film is based on the true story of American rogue trader Jordan Belfort (played by DiCaprio), whose infamous “boiler room” on the American stock exchange brought him $200 million, three wives (and many more women in

lingerie), Coco Chanel’s yacht (which he then sank), a voracious co*ke habit and, finally, 22 months in prison for security frauds and money laundering. The role earmarked for Robbie was Naomi, Belfort’s second wife in the film, whose character starts out without a dime in Brooklyn and ends up dressed in Versace, the angry mother of his two children. Unsurprisingly, Robbie’s management team didn’t share her initial perception of the role. So they broke down what starring in a Scorsese film might mean for a Neighbours alumnus whose cinematic debut was recent (and fleeting) as the pin-up girl in Richard Curtis’s About Time: “Scorsese is directing; Ellen Lewis is casting. It will lead to many more roles. You need to audition and do a really good job.” Robbie’s acting coach also

worked on her, redefining the character as “badass – tough, smart and using her sexuality because that is all she had”. Once Robbie came to realise that this was “the greatest opportunity of my life” and, by happy coincidence, Scorsese had simultaneously decided he wanted to meet her, she faced a new, unexpected obstacle to becoming Mrs DiCaprio: her binding contract to American TV series Pan Am, for which she had filmed a first season. As her lawyers worked overtime, there was nothing for Robbie to do but wait, so she left Los Angeles for London to celebrate the Queen’s jubilee: there followed the “best > 97

In fact, so dedicated did Robbie become to the film, and her character’s credibility, she shed completely her previous anxiety about disrobing onscreen. “There were points when Marty said, ‘You can wear a dressing gown here,’ but I insisted that wouldn’t make sense; my character would stand there naked. I felt the story needed to be confronted,” she says with passion. Unfortunately, filming the sex scenes with DiCaprio was neither romantic nor particularly comfortable. In one scene, Robbie teases DiCaprio by masturbating in their daughter’s nursery. Scorsese, whose film career is full of sensational violence and largely devoid of sex, was very careful that Robbie didn’t feel compromised. “He was so sweet,” Robbie remembers. “He kept saying, ‘Now, when you are making love…’ I was like, this is hardly making love!” The actress admits, “It was incredibly awkward, we were laughing the entire time. That’s probably why that scene took 17 hours to film.” Perhaps the most memorable sex scene was, in fact, their first. Robbie recalls: “We were crammed into this tiny room, Leo and I in bed, 12 crew members crammed around us, all crouching in weird positions trying not to get in the frame. My character’s dog was meant to bite Leo’s feet, which were sticking out the end of the bed, but the dog wasn’t playing ball so two

night ever”, but when she stumbled into her hotel room at 8am there were many anguished messages waiting for her from her agent. Pan Am was not going to run for a second series. Robbie was free to audition for Scorsese. The director wanted to see her tomorrow. In New York. As Robbie dashed to catch the next flight, she elected not to mention to anyone that she hadn’t been to bed. With only four hours’ sleep in the previous 48, Robbie met Scorsese and DiCaprio in New York. “The adrenaline was pumping” and she was ready to make an impact. Her audition scene involved an argument with DiCaprio: it didn’t start well. “I was drowning,” she recalls, but as she warmed up and the words got heated, Robbie “did not walk off stage, like I was meant to. Instead, I hit Leo in the face.” For a few protracted seconds, the entire room froze, while Robbie’s mind raced to lawsuits and how precisely she was going to spin this to the wider world. But eventually Scorsese and DiCaprio exploded into laughter. In unison, they pleaded: “Do it again.” And that was how she got the part.

“I was meant to walk off stage. Instead, I hit Leo in the face”

FILM:

GIRLS GUIDE

dog trainers had to squash in beside us, also on the bed, and coax the dog with bits of meat between Leo’s toes,” she says. When Robbie’s friends called to hear what it was like to roll around between the sheets with one of the world’s greatest heart-throbs, Robbie broke the disappointing verdict: “It was sweaty and smelt like dog food.” As a consequence, perhaps, her admiration of DiCaprio was strictly professional: “He is my favourite actor of all time.” Robbie is nothing but effusive about the experience of making the film. “I’ve never felt more alive,” she says. The set – which was split between Long Island and New York – was, she says, “completely insane: one day there would be a lion, the next a marching band.” (Belfort got up to some incredible high jinks in his time.) Cast and crew were also heady with artistic liberation. The film’s entire $100 million budget was independently funded meaning, among other freedoms, “No Hollywood studio counting how many times you’ve said the F-word and stopping you saying it again.” And, in trademark Scorsese style, nearly all the screenplay was abandoned in favour of improvisation. As the actress recalls, “I stopped learning the script. It ended up becoming a hindrance because the lines confused me from where I needed to go.” But the best indication of directorial satisfaction was Scorsese’s distinctive laughter booming over the monitor. “If you heard that, then you knew you’d really hit it.” Q “The Wolf of Wall Street” opens on January 17

Four tween stars to watch out for. By Louisa McGillicuddy

SOPHIE NELISSE

AGE: BORN: MANCHESTER IN A NUTSHELL: THE EXPA EXPAT ALL-ROUNDER THE NEXT… SAOIRSE RONAN

From parts in im Burton’s Shadows to the BBC’s Mr Selfridge this Mancunian wunderkind next stars in Molly Moon: The Incredible Hypnotist – adapted from Georgia Byng’s children’s book series. She’s currently ﬁlming Disney’s omorrowland with George Clooney. 98

AGE: 13 BORN: QUEBEC IN A NUTSHELL: THE INDIE DARLING THE NEXT… ELLE F FANNING

Having garnered quiet acclaim in the Oscar-nominated foreign-language ﬁlm Monsieur Lazhar Lazhar,

The Book Thief (out January 31).

CKENZIE FOY QUVENZHANE W WALLIS AGE: 10 BORN: LOUISIANA IN A NUTSHELL: THE OSCAR BAIT THE NEXT… HAILEE STEINFELD

Missing out on an Academy A Award at the tender age of

brilliantly moving 12 Y Years a Slave (out January 24).

AGE: 13 BORN: CALIFORNIA IN A NUTSHELL: THE BOX-OFFICE GOLD THE NEXT… CHLOE GRACE MORETZ

oy’s porcelain features landed her the role of Bella and Edward’s vampire offspring in the wilight franchise. This year she’ll lend her voice to the 3D-animated reboot The Little Prince, alongside Rachel McAdams and James

CAMERA PRESS; CORBIS; FILM MAGIC; XPOSURE

arts

Show BUSINESS

As fashion’s production merry-go-round whirls ever faster, the role of the catwalk show is also changing. But is there still a place for it in a digital world, asks Sarah Harris

JASON LLOYD-EVANS; GETTY

he likelihood is that you have already seen a version of the Chanel image above. You will know that Karl Lagerfeld transformed Paris’s vast Grand Palais into a whitewashed modern art gallery filled with 75 custommade original works and installations all in homage to the codes of the house. A sculpture of the interlocking double Cs along with the Chanel No 5 robot will already be etched in your memory. A shower cubicle drenched in Chanel chains will, by now, be as familiar a fixture of the spring/summer ’14 collections as Prada’s sporty tube socks. Because all this has been Instagrammed, tweeted, talked about – way before anyone even caught a whiff of the first exit. In fact, half the audience – 2,520 guests comprising editors, buyers, bloggers, stylists, celebrities, and a jubilant handful of Chanel’s most important shoppers – were still ﬁxated on their iPhones, desperately trying to get a signal (the server at Grand Palais may well have gone into some kind of cardiac arrest from such feverish Instagramming); so much so that no one really noticed that an actual fashion show was going on in front of them until midway through… Oh yes,

that’s what we’re here for, collectively read show-goers’ faces as Look 27 sauntered by. Karl Lagerfeld’s catwalks have long been a stage set for excess. Consider last season’s gently rotating, epic-scaled globe pricked with ﬂags to pinpoint the Chanel stores around the world; or the season before, when models navigated their way around a melting iceberg, which the designer had had shipped in specially from Scandinavia at God-only-knows what cost. The eyewatering expense surrounding this season’s artsy installations is certainly up there with the best of them. A Chanel spokeswoman disclosed that it took eight days to put it all together and three days to take it all back down again before every piece – “I designed all of them, but only painted a few,” reveals Lagerfeld – was carefully transported to the Chanel Conservatory in Pantin, for preservation as part of Chanel Patrimoine. Meanwhile, Marc Jacobs’s swansong at Louis Vuitton was a smorgasbord of the house’s greatest-ever shows (well, a designer like Jacobs – 16 years at the helm of LV – was never going to go without a bang). There was the fully functioning escalator, caged hotel lifts, a water fountain and a >

CHANEL S/S ’14, AT THE GRAND PALAIS

ALEXANDER McQUEEN S/S ’14

ERDEM S/S ’14, ACCOMPANIED BY CELLIST AND PIANIST. BELOW: THE FRONT ROW AT BURBERRY S/S ’14

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inVOGUE

EVA HERZIGOVA ARRIVES AT DIOR S/S ’14

JASON LLOYD-EVANS; INF; RETNA

TRAILING HOTHOUSE FLOWERS AT DIOR S/S ’14

twirling carousel ﬂanked by beauties Kate Upton, Eva Herzigova and Natasha Poly who all looked ravishing despite the 3am call time for this 10am show. Seven hours preparing for a fashion show lasting 18 minutes and 25 seconds. Has the world gone mad? Did they even bother going to bed the night before? One wonders. Arguably, there has to be an easier way of seeing what a designer has to say every season other than the status quo: buyers and press on a four-week, biannual tour, from New York to London to Milan to Paris, shuttling between locations, herded in and out of obscure venues – some icy cold, others unbearably hot, all a tight squeeze – squashed on benches before being pushed and shoved back out, and on to the next. Repeat 10 times in 12 hours, and that’s a day in the life of a professional show-goer come ready-to-wear time. And in the main, these collections – and the clothes they present, of which around 20 per cent won’t ever be made – are small fry in terms of what the brands are producing and selling. The real moneyspinners, for designers and retailers, are the pre-collections, presented without fanfare in January and June. These clothes, which are less showy, more wearable, betterpriced, and hang around stores for longer, account for up to 80 per cent of a designer’s business and up to 70 per cent of a store’s annual buy. Albeit they come with a whole other set of concerns. Work-life balance, anyone? A young designer like JW Anderson, 28, is currently producing 10 collections a year, divided between menswear, womenswear, and those for Loewe. Consider, too, what his delivering schedule must look like, with all stores now wanting early deliveries so they have longer to sell

LOUIS VUITTON S/S ’14 – THE BLACK FOUNTAIN REFERENCES THE HOUSE’S A/W ’10 SHOW

TOM FORD CLOSES HIS S/S ’14 SHOW. RIGHT: ROKSANDA ILINCIC S/S ’14 ON THE COVER OF VOGUE’S CATWALK EDIT

the product at full price (several stores penalise brands if they don’t deliver within the agreed timeframe). There must be steam coming out of the windows at JW HQ.

o what’s the role of the fashion show now? “It’s a spectacle, and a socialmedia push,” says Martin Raymond, founder of trend-forecasting agency The Future Laboratory. “The catwalk show has moved into the arena of culture and awe. I remember Angela Ahrendts, now at Apple – one of the things she said while she was CEO at Burberry was: ‘We are no longer in the business of fashion, we are in the business of entertainment.’ The idea of spending a million on a West End show is nothing, spending that on a ﬁlm is a drop in the ocean, so the notion of spending a million on a fashion show is relative.” No problem for a house like Chanel where sales ﬁgures are estimated to linger around the billion-pound mark, or at Louis Vuitton (valued at £15.1bn, it’s the world’s richest fashion brand), but where does it leave younger, emerging designers? Fifteen years ago, a designer could stage a catwalk show for £20,000. Now the going rate comes in around £100,000, and that’s comparatively modest. Models start from £250 to walk in a new designer’s show (the fees then creep up seasonally), production

and lighting costs are astronomical, a superstylist can charge £15,000 per show, and there are the sound designers such as Michel Gaubert and Frédéric Sanchez, mixing a beat at a pretty price. Show venues, too, are expensive because most have to be hired for two days minimum. Several London designers rely heavily on sponsorship from big beauty brands and drinks companies. “Until recently, unless a designer staged a runway show their collection wouldn’t be reviewed,” says an industry insider, “which can be detrimental not only to that designer’s season but to their entire career. Stylists refer to those catwalk images for a whole season to request clothes to shoot. With that in mind, students were graduating from Central Saint Martins, blindly throwing clothes on Jodie Kidd down a runway, consequently f*cking up their deliveries to Barneys because they were so inexperienced, then doing it all again the following season, hoping Barneys would come back for more. It was a nightmare.” “Designers were on a treadmill without escape,” agrees Sara Byworth, partner at PR agency RMO Communications, which represents designers including Preen, Vanessa Bruno and Markus Lupfer. “If they didn’t stage a show, the industry would lose conﬁdence. Thankfully, that’s changing. In London we now have a presentation > 103

inVOGUE schedule that’s in tune with the ofﬁcial runway schedule so designers can stage smaller presentations. It’s a smart way of giving them visibility without the ﬁnancial pressures of having to hold a show.” Show pressures aside, the clothes on the catwalk have also upped the ante. At houses such as Valentino, Balenciaga, Prada and Alexander McQueen, those ready-to-wear collections are more akin to couture, such is the level of craftsmanship, precision and fantastical ideas. “Because of the precollections, the runway is no longer the be all and end all from a selling point of view,” says Justin O’Shea, buying director at Mytheresa.com. “Brands are now choosing the runway as a forum to build their identity for the season and show something outstanding and inspiring which, yes, can be difﬁcult to produce and be sellable. There’s no longer a price barrier – there doesn’t need to be – it’s all about portraying a message.” Sarah Burton is a prime example: the Alexander McQueen catwalk collection is purely about image. “Sometimes you can buy one out of her 25 catwalk looks exactly as it appears on the runway, but the other 24 would be impossible to produce on any kind of scale,” explains O’Shea. “But shows like McQueen’s are very important in this industry. It’s a dreamland, a fantasy world – you’re seeing something you have never seen before, and that breeds excitement. Fashion needs those kind of visionaries to evolve it into the next phase.” The shows may no longer be purely a device to present what will be in stores in six months’ time (although the clothes that do make it are at least beginning to be in better sync with the month they hit shop ﬂoors, hence sightings of fur and coats on the spring/summer catwalks, to be delivered in January), but a new purpose has emerged: the show has become a hub that serves as an opportunity for all facets of the industry to meet and swap ideas and gather a collective on the season. “Personally I ﬁnd it extremely valuable when buyers and editors mix – there’s great interaction and learning to be had discussing the mood of the season,” agrees Ruth Chapman, CEO of Matchesfashion.com. “Furthermore, the collections are a great forum for me to watch fashion insiders to see what they’re wearing and how. Several trends start here for us. This global gathering generates theatre and drama, and via street-style photography it engages and inspires our customers, too.” The question remains, at a time when people are looking to reduce carbon emissions, whether it makes sense 104

for planes to drop down the same 400 people, week after week, in four different cities for a mass get-together. There probably should be fewer shows, but the fact is that the schedule is increasing, not decreasing. What if the shows ceased to exist? Could a buyer do the job sitting at home, watching the new season live-streamed? “Of course I could,” O’Shea bats back. “But it would be a pretty unfulﬁlling job. I think I’d rather be a compulsive gambler or something.” The clothes on the catwalk are only half the story (yes, seeing them is important but that’s rarely enough to spark an idea

The show has become a hub for the industry to meet, swap ideas, gather a collective on the season for an 18-page fashion shoot). The other half is gleaned from an overriding mood, a conversation, nuances and minute details – all things a rolling camera can’t transmit, no matter the zoom-in capabilities. “Yes, we would miss the shows,” agrees Chapman, before admitting, “although the schedule would certainly be more humane without them. There are four seasons a year now, which puts strains on us all – buyers, designers, stylists and editors alike.” Chapman is actively buying for eight months of the year (which roughly translates to six trips to Milan, six to Paris, and two to New York – more buying trips than there are months in a year), and that doesn’t include ﬁne jewellery, active-wear and lingerie. Add to that the countless meetings with designers and appointments with potential brands, and it’s a gruelling timetable. “It would be valuable for the fashion world to re-evaluate the timing of the shows and work more closely together internationally to create a calendar that works better for all,” she says, adding, “I also feel strongly that not all designers need to show.” “There are lots of brands that show on the catwalk just so they can say they are a catwalk brand – because that means prime positioning on a shop ﬂoor,” says Daniel Marks, director and partner of The Communications Store, the marketing and communications agency that represents brands from Oscar de la Renta to Acne.

“For other designers, it’s become a habit,” continues Marks, who holds 31 shows during the ready-to-wear collections, divided between all four cities. “They stage a show because they think they should and that’s when they fall into a danger zone.” But from a designer’s point of view, it can be their only opportunity of communication, especially those who don’t have other means, such as a string of glossy campaigns. “I don’t advertise and so I feel like I absolutely need the fashion show,” says Erdem, whose shows may be on a smaller scale than the Chanels and Louis Vuittons of this world, but not so small that he hasn’t covered White Cube in black Astroturf or built a temporary geodesic dome in Manchester Square to stage them. “The shows are my only opportunity to convey that season’s message because after that it’s over to the retailers, the merchandisers, the editors and stylists to translate and to tell their own story with the clothes.” “I tried to resist the fashion show,” admits Tom Ford, who has presented his own-label collections in multiple ways, from intimate one-on-one presentations to star-studded shows with Beyoncé and Julianne Moore modelling – and a ban on photographers. “I wanted to focus on the customer instead,” he continues, “but the level of press has increased dramatically since we reverted to runway a year ago. You become… I hate the word ‘player’, but you become a voice when you have a show. Magazines use those catwalk and backstage images for an entire six months. Without a show, you’re absent from those sections in magazines. Furthermore,” he adds, “a fashion show pushes you to create clothes that are photogenic. You’re not only thinking ‘What is this like to wear, how does it feel on the body?’, but also ‘How does this look online, in an image?’ It makes you hone your collection into a concise edit – you have nine minutes to convince an audience.” What of the future of the fashion show? “I do think you’ll see catwalk shows become bigger in terms of numbers attending,” says Martin Raymond. “In the front rows you will also have those who have paid for the experience. Wouldn’t we pay to see Galliano’s comeback collection? I think a lot of people would. Ticket agencies and clever promoters will be taking the better designers and selling them back to the market.” Certainly there are no quick deﬁnitive answers. The bulging show schedule shows no signs of abating but rising costs and the intense media eye will be forcing brands and designers to be increasingly innovative. Q

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555 King’s Road, London, SW6 2EB T 0800 612 6647 124 Holland Park Avenue, London, W11 4UE T 0800 612 6036 Harrods Brompton Road, London, SW1X 7XL T 0800 612 6087 www.therugcompany.com

MODELS IN THE SHOW, INCLUDING LINDSEY WIXSON, FRANKIE RAYDER AND LIYA KEBEDE

Figure STUDY

EVENTS. One, the opening of Eccentrico, a retrospective exhibition of one-off Armani gowns and accessories; two, the designer’s blockbuster catwalk show of the 2013 Nude Privé collection, as well as a “greatest hits” of the couture line since its launch almost a decade ago; and three, a nightclub – for those with the stamina to stick it out – with DJ Mark Ronson

Giorgio Armani took Armani Privé to New York for One Night Only. Sarah Harris sums it up

PLATES of fruit eaten by Mr Armani during his stay in New York (two portions a day)

HOURS spent backstage prepping, grooming and dressing before the 8pm showtime

15,000 SWAROVSKI CRYSTALS, SEQUINS AND LIGHT-REFLECTING GEMS HAND-SEWN ON TO A GOWN FROM ARMANI’S A/W ’11 PRIVE COLLECTION, HOMMAGE AU JAPON

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SINGLE STRIDES made by Lindsey Wixson from beginning to end of the catwalk

PRIVE looks presented on the catwalk, each one personally tended to by Mr Armani… Nothing escaped his eye

AIR MILES clocked up collectively by the 70 Armani staff who ﬂew from Milan to New York and back again for the occasion

JASON LLOYD-EVANS; GETTY; WIREIMAGE. THE NEW YORK KNICKS LOGO IS A REGISTERED TRADEMARK

HAIRSTYLISTS and make-up artists in residence

MILES: the distance from Mr Armani’s Upper West Side apartment to the show METRES OF TULLE USED TO CREATE AN EVENING GOWN FROM THE CURRENT COLLECTION

87 METRES making up the total length of Armani’s Super Pier runway

ht by caug efore p e e l fs ht b the RS o s e nig HOU mani th e same a r h y A t t r r – a M vent the p the e night of

DAYS of construction, turning Super Pier’s 9,000sq m of vacant concrete space on the Hudson River into a chic, plush-carpeted venue, comprising museum area, catwalk and glamorous nightclub lounge

KILOGRAMS: the weight of the heaviest dress in the show, left, which originally debuted in 2008. That’s the equivalent of strapping 20 bags of sugar to your back – although this is a far prettier way to carry the load

GUESTS at the show, including (clockwise from far left) Glenn Close, Lauren Hutton, Renée Zellweger, Naomi Watts, Martin Scorsese and Leonardo DiCaprio. There were 75 ﬁttings for the celebrities, who have 26 Oscar nominations between them

THE SHADE of lipstick applied to all models; 603 Rouge Ecstasy New York – Urban Nude

3,000 THE NUMBER OF HOURS IT TOOK THREE SEAMSTRESSES TO CREATE THIS DRESS, ABOVE (NUDE COLLECTION A/W ’13)

DRESSERS backstage, poised to undress and dress models into looks

NEW YORK KNICKS GAMES Mr Armani was able to enjoy during his stay. The designer is a big fan of basketball – he even owns a team in Italy, Olimpia Milano

1,400 REVELLERS at the after-party

BOTTLES of Ca’del Bosco ordered for the night

DRESSES in the Privé couture collection to date, since it launched in 2005

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Beautiful leather and immaculate tailoring is at the heart of Jitrois. Seek out its latest collection at the newly conceptualised London store (6 Sloane Street, SW1).

Peak to peak Embellishment and sportswear trends combine forces in Shourouk’s bold collection of baseball caps. Emerald cap, £560 (Browns fashion.com)

STAR TURNS It’s Lancôme’s fourteenth year as beauty sponsor of the EE Bafta Film Awards, and three lucky Vogue readers, each with a guest, will win makeovers at the Bafta suite at the Savoy Hotel on Saturday February 15, plus goody bags worth £250. To apply, email your name and address to Lancomebafta@ condenast.co.uk before January 31, 2014.

THE RED CHANNEL Shades of blush and red are key beauty trends for the coming season. Givenchy’s Lip & Cheek Palette, £44.50, offers nine colour-pop hues (Houseoffraser.co.uk).

Dive in Delve deeper into Longchamp’s newly launched ready-to-wear collection at its new Regent Street store, or visit Longchamp.com. Jacquard coat, £400

SPRING BLOOMS A splash of floral genius will give your look an instant new-season lift.

FLIGHTY NUMBERS Charlotte Taylor conceives her pieces with animal prints or details at the root of every pattern. These trousers, £195, take blue feathers as a starting point (Charlottetaylorltd.com).

PAUL BY PAUL SMITH COTTON-MIX CREWNECK SWEATER, £144, PAULSMITH.CO.UK JIGSAW SKIRT, £98, JIGSAW-ONLINE.COM

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LANCOME ROUGE IN LOVE LIPSTICK, £21

SUDHIR PITHWA

LEATHER BOUND

JASON WU S/S ’14, WITH MAKE-UP BY LANCOME

Set to work on your wardrobe for spring/summer ’14 with a little help from Virginia Chadwyck-Healey

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2013

USING LABEL.M OFFICIAL HAIRCARE PRODUCT LONDON FASHION WEEK

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PATRICK DEMARCHELIER. HAIR: SAM McKNIGHT. MAKE-UP: LISA BUTLER. NAILS: ANATOLE RAINEY. SET DESIGN: ANDY HILLMAN. FASHION EDITOR: KATE PHELAN. MODEL: SAM ROLLINSON

Wool jacket with feather embroidery, to order. Denim jeans, to order. Feather headdress, to order. All Louis Vuitton

Time to start over. Fashion’s tastemakers have reset the agenda, which is good news if the recent mood of sobriety has left you feeling a little flat. Get ready for a rush of joy. The new collections deliver a taste for notice-me pieces – from a scintillating, kinetically graffitied top to the trump-card tracksuit, all pulsate with fizzing energy. Even the classics have been pimped: the tux jacket has a spirited, abbreviated cut, while the co*cktail dress turns fantastical, rustling with jumbo paillettes. Day or night, decoration is paramount – be it spiky shards on a jet-black jacket (with a smoked-peaco*ck-feather headdress to match, perhaps?), crystal blooms on the cut-out shoulder of a sweatshirt (what can be easier to wear?) or an all-over display of razzle-dazzle beads and sequins strewn on a slip (the stuff of showgirl dreams), this is what’s wowing now.

A L E X A N D E R WA N G ’ S S E C O N D C O L L E C T I O N F O R B A L E N C I A G A T A K E S A SP ORT I E R SPI N. H E R E , H I S YOU T H - C E N T R IC A BBR E V I AT E D T E E SIGNA L S A NEW DIRECTION FOR THE HISTORIC HOUSE

Leather and cotton-knit cropped top, £1,875. Matching skirt, £1,875. Both Balenciaga

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SPRING uncovered

Fresh prints, subversive details and touch-me textures: the arrival of the new collections heralds a welcome change of pace. Styled by Kate Phelan. Photographs by Patrick Demarchelier

ALL CHANGE AT C E L I N E; PHOEBE PHILO TURNS FROM MINIMALIST TO MA XIMALIST WITH THIS SEASON’S K IN ET IC JACQUA R D KNITS AND ZIGZ AG GI NG HEMLINES – TRIBA L WEAR FOR HER FA I T H F U L URBA NITES

Jersey-jacquard tunic, from £1,050. Pleated crêpe skirt, from £1,090. Leather shoes with brass heel, from £3,315. Leather clutch, from £1,180. Bracelets, from £320 each. All Céline, at Browns, Harrods, Harvey Nichols and Selfridges. Hair: Sam McKnight. Make-up: Lisa Butler. Nails: Anatole Rainey. Set design: Andy Hillman. Digital artwork: D Touch. Models: Malaika Firth, Georgia May Jagger, Sam Rollinson, Charlotte Wiggins

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O R G A N Z A D O E S N ’ T H AV E T O M E A N W I S P Y A N D ROM A NTIC; FENDI’S GEOMETRIC H A NDLING OF THE LIGHT W EIGHT FA B R I C I N P U N C H Y N E O N P I N K I S A C A S E I N P O I N T

Chiffon and organza top, £590. Chiffon and organza skirt, £1,270. Leather tote, £1,620. Sunglasses, from a selection. All Fendi

PATRICK DEMARCHELIER

S P O R T S W E A R G A I N S PA C E T H I S S E A S O N , B U T Y O U D O N ’ T N E E D T O B E A N A T H L E T E F O R F R I D A G I A N N I N I ’ S H Y P E R - L U X E T R A C K S U I T O F F E R I N G A T G U C C I ( A LT H O U G H W I T H NO T H I NG BU T A BA N DE D T R I A NGL E BR A U N DE R N E AT H , T ON E D A B S H E L P)

Jacquard blouson jacket, £2,060. Silk-georgette and satin trousers, £785. Silk-georgette and satin bra, £325. All Gucci. Gold curb bracelets, £275 each. Silver and gold curb bracelet, £168. All H Samuel. Suede trainers, model’s own

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G E N E R A T I O N N E X T: T H E B A R J A C K E T A N D C L A S S I C F L O R A L S A R E H O U S E S T A P L E S A T D I O R A N D Y E T, I N T H E H A N D S O F R A F S I M O N S , T H O S E T I M E L E S S SIGNAT U R E S TA K E ON A W HOL E N E W L O OK

Wool/silk jacket, £1,700. Pleated silk shorts, £2,500. Both Dior

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PATRICK DEMARCHELIER

MUR AL ARTISTS C R E A T E D P R A D A’ S C A T WA L K ; S O , TOO, DID THEIR H A N DI WOR K I NSPI R E THE HOUSE’S SERIES O F A R T S Y, S P L A S H Y PR INTS. HER E, A N ENERGISING C O C K TA I L DR E S S IS MADE WITH R ADICALS IN MIND

Embellished woven shift dress, £6,310. Ribbed-knit tube skirt, £380. Jewelled cuff, £1,120. Elastic bracelets, from £150 each. Leather bag, £2,400. All Prada

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S U B V E R S I V E T H R I L L S C O N T I N U E A T S A I N T L A U R E N T: S E Q U I N L E O PA R D S P O T S A N D C L U B B Y S T R I P E S M A R R Y R O C K C O O L W I T H B R E A T H T A K I N G PA R I S I A N C R A F T

Crêpe and leather tuxedo jacket, £1,960. Sequined bustier, £1,210. Embroidered pencil skirt, £865. Leather belt, £215. All Saint Laurent by Hedi Slimane. Beauty note: punchy animal prints have a want for equally wild hair. Work Pantene Volume & Body Mousse, £4, through roots to boost vivacity

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K A R L L A G E R F E L D PA I N T S A N O T H E R T W E E D S T O R Y A T C H A N E L ; E X T R AOR DI NA RY T E X T U R E S ( T U L L E , C A S SET T E TA PE A N D MOU N TA I N E E R I NG ROPE) E N T W I N E S U B L I M E LY T O P U S H T H E H O U S E C O D E S T O WA R D S A N E W F R O N T I E R

Tweed dress, £4,225. Resin chain bangles, £950 each. All Chanel

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T H E S H O W G I R L’ S TA N TA L I SI NG BUGLE BEA DS A ND T H E S C H O O L G I R L’ S NO-NONSENSE WHITE SOCKS ARE J U S T T W O WA Y S M I UCC I A PR A DA D E L I V E R S A N E W, GENRE-DEFYING FEMININITY

Leather and suede coat, £5,050. Wool top, £550. Beaded wool skirt, £12,395. Cotton socks, £165. Patent-leather shoes, £460. All Miu Miu

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PA R E D - D O W N P E R F E C T I O N W I T H A G E N T LY R ET RO SPI N; R A L PH L AU R E N ’ S T ROUSE R SU I T I S A L L A BOUT THE EX PERT CUT

Cotton/silk blazer, £2,790. Cotton/silk waistcoat, £990. Cotton/silk trousers, £1,190. All Ralph Lauren Collection

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H O L D M E : B U R B E R R Y P R O R S U M S O F T LY E M B R A C E S T H E N E W SE A S ON W I T H DE M U R E M I D - C E N T U RY SI L HOU ET T E S , T OUC H - M E T E X T U R E S A N D A PA L E T T E O F F I F T I E S M A K E - U P S H A D E S

Cashmere/silk jacket, £1,795. Cotton-lace pencil skirt, £595. Appliquéd leather clutch, £995. All Burberry Prorsum

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D O L C E & G A B B A N A W E L C O M E S U S T O L A FA M I G L I A ! E X P L O R I N G T H E G R A E C O - R O M A N H E R I T A G E O F S I C I LY, T H I S I S T H E A T R I C A L G L A M O U R T H A T W I L L STA N D T H E T E ST OF T I M E – L I K E T H E T OW N OF TAOR M I NA I T SE L F

Silk dress, from £1,850. Alpaca fur collar, from £1,800. Gold-plated hoop earrings, from £705. Brocade and leather bag, from £1,160. All Dolce & Gabbana

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CHRISTOPHER K A NE PUSHES BOU N DA R I ES AGA I N. HIS COLLECTION BLOOMED WITH SU BV ER SI V E T W ISTS, FROM MID- CA LF HEMLINES TO DI S SE C T E D B O TA N IC A L S A N D C RYSTA L CROCODILE CLIPS – A S C I E NC E T H AT I S S H O C K I N G LY BE AU T I F U L

Watch a behind-the-scenes ﬁlm with personal proﬁles of the models, only on Vogue’s iPad app

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Cotton sweatshirt with Swarovski-crystal detail, £1,800. Satin skirt, £595. Leather shoes, £405. All Christopher Kane, at Harrods

PATRICK DEMARCHELIER

I M B U E D W I T H C A L M I N G S E R E N I T Y, G I O R G I O A R M A N I E X H A L E S A Z E N - L I K E TA K E ON E V E N I NGW E A R W I T H ROM A N T IC , AQUA- DAU BE D VOLU M I NOUS SH E E R S

Organza playsuit, £4,150, Giorgio Armani. Beauty note: a clean complexion is a prerequisite for artsy, vibrant attire. Use Rimmel BB Cream, £7, for a ﬂawless yet lightweight ﬁnish. For stockists, all pages, see Vogue Information

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THE FUTURISTIC SPIN ON THE POUCHETTE? PHOEBE PHILO’S CONCEPTUAL COBALT DISC BAG (WITH SUNNY YELLOW INLAY) IS PURE BLUE-SKY THINKING Black interlock short-sleeved top, from £1,300. Leather eyelet clutch, from £1,180. Both Céline, at Harrods and Joseph. Sleeveless jersey dress, worn underneath throughout, £1,345, Prada. Sunglasses, £226, Tom Ford. Gold-plated watch with striped strap, £245, Larsson & Jennings. Hair: Syd Hayes. Make-up: Lauren Parsons. Nails: Jenny Longworth. Production: Laura Holmes. Set design: Poppy Bartlett. Digital artwork: Output. Model: Amanda Murphy

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A MULE AND A CLUTCH MAY READ “LADY” BUT MANOLO BLAHNIK’S BRIGHT WHITE HEELS AND JIMMY CHOO TROPICAL SUEDE CLUTCHES BRING EDGE Printed poplin dress, £1,240, Jil Sander. Leather mules, £550, Manolo Blahnik for Victoria Beckham. Suede clutches, £775 each, Jimmy Choo. Steel Cape Cod watch with leather strap, £1,700, Hermès

POP

ART

When it comes to spring accessories, be bold, sharp and fearlessly loud. Styling by Francesca Burns. Photographs by Angelo Pennetta 129

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A SIMPLE SHIFT DRESS AND ANYA HINDMARCH’S LINEAR DOCUMENT CASES MARRY THE PALETTE AND FUNCTIONALITY OF THE BAUHAUS MOVEMENT Opposite: cady shift dress, £1,990, Ralph Lauren Collection. Leather and net shoes, £545, Balenciaga. Leather clutches, £450 each, Anya Hindmarch. Resin watch, £255, Toywatch

CLINICAL FLASHES – A BOLD-FACED WATCH, OVAL SUNGLASSES OR AN OVERSIZE PORTFOLIO – BREAK THROUGH PRIMARIES WITH MODERN EASE This page: sleeveless cotton top, £205. Pencil skirt, £235. Both Max Mara. Sunglasses, £179, Burberry Prorsum. Leather clutch, £445, Coach. Resin watch, £349, Kenzo

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THE SEASON’S STARTLINGLY SWEET COATS AND WHISTLE-HIGH MINIS REQUIRE ACCESSORIES WITH SOPHISTICATION, NOT NAIVETE – LIKE ASPREY’S NUBUCK DUFFEL BAG AND CHRISTIAN DIOR’S RED LACQUER AND DIAMOND WATCH Wool coat, £2,775. Jersey dress, £1,345. Jewelled wool skirt, worn back to front, £1,600. All Prada. Sunglasses, £275, Céline. Diamond-set Christal watch, £6,000, Dior Joaillerie. Nubuck bag, £2,000, Asprey

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ALLOW PAINTBOX BRIGHTS TO BE THE BUILDING BLOCKS OF YOUR WARDROBE; MULBERRY’S ENVELOPE BAG IS A GREAT FOUNDATION FOR ANY ENSEMBLE Yellow shift dress, £310, Sportmax. Leather and ponyskin clutch, £1,600, Mulberry. Resin cuff, from £440, Céline, at Selfridges. Beauty note: with bright block colour, keep hair sleek. Mist Toni & Guy Glamour 3D Volumiser, £7, on to dry hair for root lift, taming and shine

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WHAT IS CITY SMART NOW? TUCK LONGCHAMP’S TOTE UNDER YOUR ARM, GENTLY SWING, AND FINISH WITH A FLASH OF SPACE-AGE SILVER Opposite: cotton dress, £330, Hugo. Leather sandals, £600, Casadei. Patent-leather tote, £350, Longchamp. Sunglasses, £340, Balenciaga

ALBERTA FERRETTI RECASTS THE FRAMED HANDBAG AS A (FUNCTIONALIST) MOULDED WONDER TO BEHOLD – AND INDEED HOLD – WITH PUNCHEDOUT HANDLES This page: leather dress, £1,095, Joseph. Leather bag, £732, Alberta Ferretti. White-gold and sapphire J12 watch, £29,400, Chanel Fine Jewellery

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TALL POPPY SYNDROME? CHRISTOPHER KANE’S BOLD BOTANICAL FLOWER SHOPPER IS GUARANTEED TO STAND OUT IN A CROWD Leather top, £1,885, Kenzo. Jacquard miniskirt, £425, Versace. Satin sandals, £480, Cesare Paciotti. Leather ﬂower bag, £445, Christopher Kane, at Matchesfashion.com. Leather and metal watch, price on request, Givenchy by Riccardo Tisci, Paris

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BRIGHTS! CAMERA! ACTION! THE CAREFREE COMBINATION OF STELLA McCARTNEY’S OVERSIZE SPECS AND TOD’S MOCCASIN-FRINGED MICROBAG GUARANTEE A SMILE

RUG, THROUGHOUT, THE RUG COMPANY

Neoprene tunic, from £205, Opening Ceremony. Leather miniskirt, £680. Watch, £349. Both Kenzo. Leather bag, £1,300, Tod’s. Sunglasses, from a selection, Stella McCartney. Beauty note: a slick of fabulous lipstick is the perfect accompaniment to colourful sunglasses – try Estée Lauder Pure Color Envy Lipstick in Potent, £24. For stockists, all pages, see Vogue Information

ANGELO PENNETTA

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CHRISTOPHE LEMAIRE’S WRAP SHIRT AND SKIRT BOAST A QUIET CHARM ON THE LITHE FRAME OF HOLLIE-MAY SAKER Cotton wrap shirt, £760. Pleated wool skirt with leather detail, £2,090. Both Hermès

Blocks of black and white make a fine canvas for a designer’s every whim – from clean silhouettes to origami-like shapes. The newest models on the international scene play it out. Styled by Lucinda Chambers. Photographs by Josh Olins

in the

FOLD 138

HOLLY ROSE EMERY’S STRIKING FEATURES REQUIRE LITTLE ADORNMENT. SIMPLY BLEND IN MAX FACTOR CC CREAM, £10, FOR A NATURALLY HEALTHY COMPLEXION Hair: Sam McKnight. Make-up: Sally Branka. Nails: Ama Quashie. Set design and props: Andrew Tomlinson. Florist: Flora Starkey. Digital artwork: Hempstead May. Models: Betty Adewole, Eva Berezina, Julia Bergshoeff, Holly Rose Emery, Elisabeth Erm, Anna Ewers, Ophelie Guillermand, Julie Hoomans, Harleth Kuusik, Madison Leyes, Zlata Mangaﬁc, Ola Rudnicka, Hollie-May Saker, Maja Salamon

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THE POINT PAUL SMITH MAKES ABOUT TROUSERS NOW IS THAT THEY ARE SUPER-LONG – LOFTY ESTONIAN ELISABETH ERM ADOPTS THE REQUISITE SLOUCHY STANCE This page: black ramie blazer, £670. Matching trousers, £969. Cotton shirt, £110. All Paul Smith

SOFTLY CRUMPLED WITH PINTUCKS AND FOLDS, MARNI’S MONOCHROME IS DELIGHTFULLY YOUTH-CENTRIC, ESPECIALLY ON JULIA BERGSHOEFF AND EVA BEREZINA Opposite: black cotton and organza top, £470. White cotton trousers with asymmetric hem, £720. White cotton top, £430. Black draped cotton and organza skirt, £670. All Marni

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JOSH OLINS

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THERE’S AN AIR OF INNOCENCE SEWN INTO THE SEAMS OF VALENTINO’S PLAYSUIT. POLISH NEWCOMER OLA RUDNICKA TRIES IT ON This page: silk-cady playsuit, £1,300, Valentino. Leather shoes, £475, Saint Laurent by Hedi Slimane

FOR GRACEFULLY DISHEVELLED WAVES TO RIVAL THOSE OF MADISON LEYES, TWIST AND SCRUNCH PANTENE DEFINED CURLS MOUSSE, £3, THROUGH DAMP HAIR AND LEAVE TO AIR DRY Opposite: black sleeveless cotton-satin midi-dress, from £1,190, Jil Sander

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OUR TASTE FOR SHIRTING HOLDS STRONG – LONDONER BETTY ADEWOLE REFINES THE LOOK FURTHER BY JUXTAPOSING A BOXIER CUT WITH A LONG AND LEAN MIDI-SKIRT This page: cotton shirt, £708. Cotton skirt, £532. Both Akris. Leather sandals, £216, JW Anderson, at Feathers. Hydrangea necklace, £80, Fumbalinas

UNCOMPLICATED LOOKS CAN BE BIG ON IMPACT; PROENZA SCHOULER’S PLUNGING-V TOP ON JULIE HOOMANS IS NOTHING SHORT OF RAVISHING Opposite: crêpe top, £1,950, Proenza Schouler

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CUT TO BALLERINA LENGTH WITH PLISSE PLEATS, THIS BOTTEGA VENETA SKIRT HAS THE POWER TO MELT HEARTS – SO, TOO, DOES ZLATA MANGAFIC This page: black cotton blouse, £470. Pleated skirt, £1,705. Both Bottega Veneta. Leather loafers, £170, Bimba & Lola

SUSPENDED IN MODERNITY, HARLETH KUUSIK AND MAJA SALAMON ARE YIN AND YANG IN JW ANDERSON’S GEO LINES Opposite: white silk/cotton scarf top, to order. Silk/cotton skirt, £690. Leather sandals, £216. Black silk/cotton scarf top, to order. Silk/cotton skirt, £690. Leather sandals, £216. All JW Anderson, at Dover Street Market, Feathers and Matchesfashion.com

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JOSH OLINS

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OPHELIE GUILLERMAND RUNS WITH THIS SEASON’S SPORTIF ATTITUDE AND TRIALS CALVIN KLEIN’S ULTRAFLATTERING GENTLY FLARED SLEEVES This page: jersey wrap top, £1,116, Calvin Klein Collection

TEUTONIC BEAUTY ANNA EWERS IS POETICALLY ALIGNED TO ERDEM’S NEWLY AUSTERE ROMANTIC FABRICATIONS – BLACK MAGIC, INDEED Opposite: black draped matelassé corset dress, £2,750, Erdem, at Harvey Nichols. For stockists, all pages, see Vogue Information

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JOSH OLINS

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TIM WALKER; COURTESY THE VICTORIA & ALBERT MUSEUM, LONDON

Opposite: The Extravaganza: the Mountain Headdress of 1776, by Matthias Darly, a caricature engraving of a woman with corn, fruit and carrots decorating her elevated hair. This page:“How does your garden grow?” Vivid foxgloves set off an embroidered skirt by Bellville Sassoon, Vogue December 1997

EARTHLY DELIGHTS Flowers and fashion make beautiful bedfellows, and the roots of this botanical union go back centuries. On the eve of a new exhibition celebrating this horticultural love affair, its curator, Nicola Shulman, uncovers the influence of the English garden

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spangled with silver thread. On their shoes vast rosettes bloomed, fringed and pinked to look like the new carnations and anemones coming out of Holland; and their real gloves were encrusted with foxgloves, or faux-gloves, or indeed digitalis, all of which were once little jokes about fingers. This sartorial passion for flowers is a recurring peculiarity of a distinctly British taste. Yes, there were plenty of floral motifs on French and Italian clothes but they seldom pretended to be real: stylised and unnatural roses marched in stripes across a skirt or a silk doublet. They made a pattern, not a garden. By contrast, on a seventeenthcentury Englishwoman’s dress, hybrid vines grew in rampant profusion, as if they might crawl over the collar and up her neck, choke her mouth with pansies, set strawberries in

The eighteenth century was a time of garden mania. Botanising was almost as big as gambling her lashless eyes, put out new feelers for the light. The English embroiderers strove for a likeness, copying their flowers from illustrations in the newly printed herbals, or compendiums of plants; and when we ask why, it is worth remembering that even the richest and most noble Englishwoman would be expected to make jellies and linaments, pound ointments and distil liqueurs from the plants that decorated their clothes and grew in their knot gardens – as well as embroider them precisely. The distinction has held, more or less, ever since. To characterise crudely, you could say the difference was this: when continental fashion looks at gardens it sees art; when English fashion looks at them, it sees nature. Valentino’s 2013 opera cloak is a case in point, recasting the wrought-iron garden gates of a Renaissance master into scrolling cutwork. YSL’s famous “sunflower” and “iris” jackets are after Van Gogh. Christian Dior once said that his balldresses sprang from his mother’s garden – but not until Impressionism had had its powdery way with it. His narrow stems and blurred-petal dancing skirts recall FantinLatour’s flower paintings or the misted pink of Monet’s lilacs and cherries. In 2010, though, Dior was under John Galliano: a Gibraltarian Briton, London-educated and

finished in the school of that grey eminence Lady Harlech. When Galliano did flowers, he re-imagined them as botanical specimens, anemone and tulip and iris, steel-blue-andviolet striped, streaked, freaked, splashed and ruffled, with fimbriated hems and loppetalled panniers and gold pollen hearts at the models’ stem-thin waists: flowers, in other words, lifted from the cutting garden, the flower market and the botanical watercolours of the seventeenth century. Gardens and clothes are about more than flowers, and so are the connections between them, bred in the bones of each for a very long time. The correspondence begins in the sharing of pattern; so that a knot garden would use the same design as the detail of a waistcoat border or a woven damask. Hard to say which came first. Initially both were probably using patterns arriving through Italy from the east (hence damask, from Damascus). The first decided strike, though, went to fashion, when the parterre de broderie was devised for Louis XIV’s gardens at Versailles. On a series of flat and stately terraces, low box hedges (no flowers) were set in arabesques and scrolls, in explicit emulation of the raised woven embroidery on the borders of clothes. At the centres of the parterres, shivering fountains smoked into the air, like lace foaming out at the sleeve. These formal, static looping patterns showed that nature could be subdued to ornament, and the outside made as stately, ornamental and ceremonious as the inside. When Lord Pembroke, say, of Wilton House – where the first English broderie parterres were made in the 1630s – stood at his great windows, and saw his cuffs mirrored in his landscape, he was filled with a satisfied sense of his own refinement, decorum, privilege, and his control over what he surveyed. But that changed in the next century.

n the mid-eighteenth century the greatest tribe of exquisites Britain has ever produced, the Georgian beau monde, took the influence the other way: they wore their gardens on their clothes. High fashion centred around the English court, where a strange sartorial paralysis ruled. For 45 years, the shape of women’s court dress – the hoop petticoat, five feet across the front, which propelled women sideways through doors and did away with the arms on Georgian sofas – had remained unchanged. But fashion doesn’t stand for that. Fashion likes things to be new, things to be in or out. So, for 40 years, you showed your chic not in the shape of the dress but in the silk design on your immense skirts.

VENETIA SCOTT; JASON LLOYD-EVANS; GETTY; TIM WALKER; THE GARDEN MUSEUM; THE BRIDGEMAN ART LIBRARY

hen I started doing research for an exhibition about gardens and fashion, I had no idea what, if anything, would come up. It looked as if fashion and gardening had been stealing each other’s clothes for centuries, but there were no books or articles on the subject. Friends were incredulous. Shapeless beige macs were what occurred to them, and knee-pads and holey cardigans and trousers done up with baler twine. If I’d known what I now know I could have told them that, as a matter of fact, Burberry had based a whole collection around this particular look. But I didn’t know it; nor did I know what links Alexander McQueen and Mulberry to eighteenth-century hedges, or Philip Treacy to plant breeders, or the difference between French and English floral patterns, or why Italians wear yellow jumpers. Now I do, and it’s all because the British love their gardens. I think the best place to start is Cheryl Cole’s tattoo. In case anybody missed that, it made its debut last September, situated along the top of Cheryl’s thigh and the bottom of her bottom. Public reaction was immediate and united in the view that here, at last, after two millennia of false alarms, was the signal for the end of days. But I, researching for this exhibition, knew otherwise. Cheryl’s tattoo is an ingenious manifestation of a long, dignified tradition, and an emblem of her position as an Englishwoman of high status. The tattoo is a picture of roses. Sadly, no mention of the variety, but a rosarian, looking closely, would probably identify it as Rosa “Dublin Bay”: a sturdy little crimson rose described in the catalogue as: “Modern Climber. Large bloomed, resistant to rain but able to tolerate only a small amount of shade, hardy in the north. Some thorns.” In other words, here is a flower portrait, rendered with botanical accuracy and used to symbolise the character and condition of the wearer. English women of high degree have been doing this for 500 years. Queen Elizabeth I would have had a lot of time for this. She was the first great exponent of the form, with dresses combining floral emblems, like the distinctive Tudor rose, with flowers from the garden and the English hedgerows. Between her accession and the death of her successor, James I, flowers overran the fashionable like a love-crazed bindweed. Men and women appeared in public covered in cornflowers, pinks, strawberries, honeysuckles, borage, comfrey, tulips, all worked in silks and

CHRISTOPHER KANE

The court ladies rose to this superbly, appearing each season in a different silk intended to outshine their rivals. Almost all the designs were of flowers, plants, shrubs, weeds – even flowerpots, beds and gardens. In 1741, the duch*ess of Queensberry, a fabulous beauty, had a fashionable “natural” garden on her dress: a tangle of native meadow flowers and vines climbed up the “old stumps of trees” rooted at the hem, all embroidered to look as though the broken light of the sun were playing on it. And when Mrs Delany, the most brilliant woman at court, designed her own skirt of hollyhocks, auriculas, sweet peas and garden flowers, embroidered as if suspended in a vast darkness of black silk, it was in conscious imitation of another kind of garden: the London florists or nurseries where floral novelties – often named after distinguished people at court – were displayed in individual splendour against a black ground. When we think of this, we must remember that gardening was to the eighteenth century what contemporary art has been to high society these past 30 years. It was a time of garden mania: English landowners poured their immense wealth into garden-making, rolling out ornamental parklands over what had been cart-tracked fields, villages and heaths, and setting their grassy flanks with plantations, bridges, porticoes, temples, pagodas, seats, lakes, obelisks, follies, streams, grottoes pearled with a million shells, towers of water leaping furlongs high to amaze you as you gained the ridge. Botanising was almost as big as gambling. So the duch*ess of Queensberry and Mary Delany’s dresses weren’t just decorative; they were the outward expressions of their wearers’ patronage, expertise and engagement with horticulture. Wonderful to relate, this connection between high fashion and botany persists to this day. The stellar Christopher Kane puts botanical drawings with labelled parts on to his dresses and shirts. It’s in Erdem’s prints, in Hussein Chalayan’s painted jacket where pale-stemmed nerines and winter irises hang, dangling clods of earth, against the polyethylene blue of the sky. We see it in the chrysanthemums lining my old tweed Paul Smith overcoat, each one fit for the competition bench of a small northern town. Meanwhile, at Philip Treacy’s studio, where ideas turn into hats, a thicket of live orchids is ranged on the worktable in pots. The formal elements of these flowers – petal and lobe and lip – are absorbed into the hats’ convexities and >

Clockwise from left: botanical prints at Christopher Kane; romantic lace in the rose garden at Great Dixter, Vogue October 2013; Elizabeth I’s ﬂoral gown; embroiderers copied engravings from Collaert’s Florilegium (1590) and Gerard’s Herbal (1633); Alexander McQueen couture, Vogue August 2006; The Gardens of Wilton (1645); YSL jackets inspired by Van Gogh and Bonnard’s ﬂower paintings

BURBERRY PRORSUM

Left: silver ﬂorals at Mulberry. Below: Portrait of a Young Girl (c.1625-35) – the embroidery on her dress typiﬁes the profuse, trailing English style of the period

off. Men wore a three-piece suit in subdued colours; women devised a “redingote” or “caraco”, that is, a fitted, tight-waisted version of the man’s coat in a warm fabric like broadcloth or “blanket”, with a froth of muslin at the neck and an incredible hat. The costume was an immediate success. The men welcomed this, their first glorious opportunity to reject formal wear. Soon broadcloth replaced silk, even at court. Georgiana, duch*ess of Devonshire, wore her redingotes for nighttime entertainments in town. Young Parisians, taken with the notions of vast wealth, equine dash and physical esprit it conveyed, adopted it with incongruous enthusiasm, in bouts of recurring anglomanie. Soon, the clothes and the “natural” English landscape park that blew them into being acquired political significance. Where French-style formal clothes and gardens seemed to symbolise a despotic society gridlocked with protocol, the sinuous park and relaxed, demotic garb came to stand for enviable aspects of British life – such as (relatively) informal manners, social liberties and a love of nature. What the English made of the English style was clothes to get out in, clothes to get wet in, clothes to stride about in and not care about, clothes that distilled a high grand carelessness, even clothes to garden in. From the redingote and broadcloth suit come Vita Sackville-West’s britches and pearls, duch*esses in tweeds to feed hens in, Kate Moss’s Hunter wellies at Glastonbury, the Prince of Wales in his much-patched gardening coat. We revel in the mudscuffed and the rain-washed. And we also have the scrubbed-up version; the beautiful clothes and women who bring the outside sweeping in. Isabella Blow, for example, in a brown check tailleur under an explosion of feathers and veil. Or Daphne Guinness, with her eighteenth-century hair and diamond-pinned neckcloth, trailing a black silk redingote up a Palladian stair. Britain does this look best. Harrods may be Qatari, Cadbury’s may be Kraft, and Land Rover Indian, but bring us to this and we always win. We win with designers like Alexander McQueen and Barbour and Mulberry and Burberry. We win because our fashion houses know the difference between essence and pastiche. They can take the elements of the English garden – the rose on the dripping wall, secateurs on a bench, the elbow-patches, batty hats and once-good cashmeres of garden grandees, and put it into the cut of a sleeve or a bolt of cloth. The girl running down the gravel path goes spinning out into the city streets. Q “Fashion & Gardens” is at the Garden Museum, February 13 to April 27 (Gardenmuseum.org.uk)

JASON LLOYD-EVANS; HORST; ALASDAIR MCLELLAN; NICK KNIGHT. COURTESY THE VICTORIA & ALBERT MUSEUM, LONDON AND THE ROYAL COLLECTION, HER MAJESTY QUEEN ELIZABETH II

MULBERRY

From top: the pastoral idyll in The Hay Field (1869), by Thomas Armstrong; Burberry’s take on the practical mackintosh; neon appliqué ﬂorals by Christopher Kane, Vogue March 2012; a Dior ballgown – “each overlapping petal sparkling with beads and sequins”, Vogue, 1949

points. In fact, the association of Dutch orchid growers has just named a new orchid after Treacy. It has his freckles. The eighteenth-century garden is also at the root of one of the most successful, enduring and influential fashions in the history of clothes. Have you ever wondered why, when autumn arrives, not far behind come pictures of girls with twigs in their hair, dragging the hems of tight-waisted tweed overcoats over wet green grass? What speaks to our imagination about Stella Tennant, petticoated, patch-elbowed and gumbooted, throwing grain to a flock of ornamental fowl? I am dark and somewhat yellow; but show me a girl in a corduroy hacking jacket, show me a land girl, show me Victoria Lockwood raising a gunnera umbrella above her wet trenchcoat, a plaid skirt, woolly tights, brogues, anything hairy, nubbly, blankety and majoring in greatcoat buttons, then reason and resistance fall together, and out I run to buy something in rust-coloured tweed with foot-wide lapels which will make me look like a pantomime chimp. I have learned that landscape gardeners set the seeds of this romance 300 years ago. In the middle of the eighteenth century, gardens changed, and because of that fashion went outdoors. It happened like this. The large garden had been a series of formal terraces and flat parterres, suitable for people in satin and buckled silk slippers. But from 1720 onward it burst its buttons and rolled itself out over a great part of the owner’s landed estate. The park landscape, as it was called, was typically enormous. It turned the agricultural estate (and the colossal wealth it represented) into a huge pleasure ground: a gallery, if you like, for viewing its own enchantments. It was supposed to look like nature itself, and was designed by architects like Lancelot “Capability” Brown and his successor, Humphry Repton, to be seen from a horse’s back. To appreciate it, you had to get out into it. So networks of private “carriage drives” threaded over the park and woods, and racy new types of carriage were devised – high-seated, fast and open to the air – to bowl about in them. Dispensing with the groom, owners drove themselves and their friends out, away into the distance to admire the long pavilioned views. This kind of caper required new clothes, suitable for sustained exposure to the elements. It needed wool, not silk; boots, not slippers – stuff you could brush the mud

These were clothes to get out in, clothes to get wet in, clothes that distilled a high grand carelessness

Lighthearted abandon in Dolce & Gabbana’s rose-print chiffon, Vogue September 1996

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Meet Miss Jones At just 30, Felicity Jones is already a favourite of the British film industry. But her latest film is expected to propel her to global acclaim, says Violet Henderson. Styling by Francesca Burns. Photographs by Alasdair McLellan

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Opposite: wool coat, £1,745. Wool miniskirt, £735. Both Miu Miu. Sleeveless silk blouse, £1,040, Saint Laurent by Hedi Slimane. Suede bag, £2,000, Asprey. Hair: Luke Hersheson for Daniel Hersheson Salon. Make-up: Lucia Pica. Nails: Jenny Longworth. Tailor: Ian Hundley. Production: Ragi Dholakia. Digital artwork: Output

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n a quiet cafe on a leafy street near Regent’s Park, the actress Felicity Jones and I have tea. This isn’t the ﬁrst time that she and I have met: we were contemporaries at Oxford University, where we both studied English – Felicity having decided to give drama school a miss because, as she later tells me, she “wanted another experience”, though she always knew that acting was her destiny. I didn’t know her well; she was the prodigiously talented girl who didn’t get drunk on Thursday nights because – as everyone whispered – she had a part to record on The Archers, the Radio 4 soap opera as British an institution as the university itself. Older than me, and light years ahead in the maturity stakes, Jones’s friends were the good-looking artsy crew from Wadham College and she the star in their midst, who effortlessly juggled the two-essays-a-week discipline with acting in every play going. Jones had a certain style: I have a vivid memory of her walking down Broad Street, past the Sheldonian, Christopher Wren’s round-fronted theatre, in a blue pinafore, white rufﬂed lace shirt and pointed brogues. She looked just how you’d hope an undergraduate would look – when, light-deprived and spotty, they normally disappoint. Today, Jones has arrived in an apologetic hurry, only a little late. Her attire is more relaxed than my Oxford memory: she is wearing leggings (for a later yoga class), a blue sweater, the Acne leather jacket she “never takes off ”, not a scrap of make-up and that peculiarly British brand of dishevelled hair. Not that this lack of effort in any way diminishes her, she is as captivating to watch in person as she is onscreen. One minute she looks like the prettiest girl in school, or the friend you have coffee with before a yoga class, then she will tilt her head or throw back her hair and her beauty is remote and like nothing you’ve seen before – Burberry and Dolce & Gabbana have both used her for campaigns. And yet the cafe continues its business, oblivious to her entry, presumably unaware that Jones has been just been nominated for Best Actress by the British Independent 158

Film Awards. I’d happily bet my desk at Vogue that a Best Supporting Actress Oscar nomination for the same ﬁlm, The Invisible Woman, will shortly follow. The ﬁlm, based on the book by Claire Tomalin, is a moody offering, directed by Ralph Fiennes, in which Jones plays Nelly Ternan, the much younger – and ultimately surviving – mistress of superstar author Charles Dickens, played by Fiennes. It has all the elegance, restrained lighting and national signiﬁcance to become as celebrated as The King’s Speech. And, if it doesn’t catapult her to cafe-stopping celebrity status (there is a longstanding media preoccupation over when Jones’s fame will match her talent), she’ll power on to the international big screens in The Amazing Spider-Man 2 this spring, and she’s currently ﬁlming Theory of Everything, a biopic of Stephen Hawking in which Eddie Redmayne is the scientist, while she plays Jane, his ﬁrst wife. Jones herself is jumpy about what these high-proﬁle roles might mean for her. She says she knows that she “can’t run away from the public element of my job”, but “often the last thing I want to do is stand up in front of 50 cameras on the red carpet. I’d rather have a cup of hot milk and an early night”. A story now enshrined in theatre lore, Jones once turned down a lead role opposite Julia Roberts in the Hollywood blockbuster Mirror Mirror because she had already committed herself to a part in Luise Miller, a Michael Grandage-directed production of the Friedrich Schiller play at the Donmar Warehouse. She tells me the decision was simple: she wanted “to follow her heart”. No wonder Bill Nighy, who has taken turns both as her father in the TV thriller Page Eight and her employer in the ever-so-slightly ludicrous romcom Chalet Girl, salutes her as: “Instinctively honest, ﬁne-tuned and not undermined by careerism.” The actress never did watch Lily Collins play the part that might have been hers in Mirror Mirror, although she assures me, with clipped consonants and a little, wry smile, “I am sure it was excellent.” Forthright and forceful, Jones knows her own mind. “I make all my decisions by

listening to my instinct and then keeping my ﬁngers crossed it will lead to a good place,” she says. And she’s not prudish in the pursuit of what she wants. After the actress had read the outline for ﬁlm director Drake Doremus’s improvisation project Like Crazy, and decided the part of lovestruck Anna “had to be mine”, she made her own audition tape, ﬁlming the ﬁnal scene herself, in her shower. She got the part. “But, by the way,” she points out with a knowing giggle, “the tape was only a close-up of my face.” Like Crazy turned out to be the runaway indie hit of 2012 and Jones won a Sundance Award. Last year she worked with Doremus again, this time opposite Guy Pearce, in another improvised heartbreaker, Breathe In. Jones always wanted to act. “Without sounding too pretentious, I feel my job is almost like becoming a monk or a nun – it’s a calling,” she says. She was raised in Bournville (the model village outside Birmingham that was built for workers of the Cadbury’s chocolate company); her parents divorced when she was three. Jones and her brother lived with their businessconsultant mother. She grew up fast. “I think that my parents’ divorce gave me a very strong sense of self-reliance and independence,” she says. “I realised that I needed to make sure I could support myself because you don’t know what’s going to happen in the future.” Not yet in secondary school, Jones joined a drama group, Central Junior Television Workshop, to which TV and radio companies would come to hold auditions. By the age of 11 she had her ﬁrst job, appearing on the ITV children’s programme The Worst Witch. Her second job, another children’s drama, The Treasure Seekers, featured, she recalls, “my pretty appalling, very earnest performance” alongside a young Keira Knightley. At 15, she won the part of local strumpet Emma Grundy on The Archers, a role she played for a decade. Crossing her legs and leaning on her arm, Jones sits like a sixth-former in history class. Her minute frame and deliciously rounded cheeks defy her 30 years, as do some of her mannerisms – when she >

“Often the last thing I want to do is stand up in front of 50 cameras on the red carpet. I’d rather have a cup of hot milk and an early night”

ALASDAIR MCLELLAN

“Felicity has a mind like a knife. She looks at things intently. Then turns them upside down and looks again,” says playwright and friend Polly Stenham. Wool coat, £1,495, Burberry Prorsum

Top: Felicity Jones as Nelly Ternan in The Invisible Woman; with Anton Yelchin in 2012’s Like Crazy, above. Right: at last year’s Punk: Chaos to Couturethemed Met Ball, wearing Proenza Schouler

and doesn’t stumble out of nightclubs. Stenham praises her friend’s mind: “Felicity has a ﬁerce intellect. A mind like a knife. She looks at things intently. Then turns them upside down and looks again. I often think it might not just be acting that we’ll know her for. And she’s funny. Hellishly.” If this is a new cool British intelligentsia – the Bloomsbury Set relocated to twentyﬁrst-century east London (where Jones and many of her cohorts live) – she seems proud to be a part of it. She says, “It’s amazing to think we’ve always been working, for 10 years now, and together. Yesterday on set I watched Eddie [Redmayne] and Charlie [Cox] do a scene together, and it was so beautiful seeing the subtlety of their acting, how they now know absolutely how to be on camera. I love that we can still support each other.” She decides what binds them all together is “seriousness. I think we all feel very lucky to be doing what we do, and we all believe in acting and believe in telling important stories.” In recognition of this, and Jones and Redmayne’s growing gravitas within the acting world, both actors have been elected to join a Bafta committee, on which Dexter Fletcher and Shane Meadows also sit, to

“On stage, you feel like you might die during the process, as if you’re about to get on a plane that might go down”

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nominate upcoming British talent in ﬁlm, television and gaming for the Burberry-sponsored Breakthrough Brit Awards. If Jones could spend our couple of hours together talking only about the academics of acting, she would. She is a reluctant interviewee, whose answers to my questions tend to be short, polite but perfunctory. And yet, after the interview, when my Dictaphone stops rolling, she relaxes and becomes great company. She does a skilful impersonation of a mutual friend and tells funny anecdotes. Her reticence seems to spring from that typical Oxford malaise of overthinking every possible ramiﬁcation of what she says. She admits, “I’m a horrible perfectionist and very highly strung. That’s why I do yoga, to unwind.” But like so many people, or women, who suffer from anxiety, her fear is also her energy. She describes what it feels like to wait in a theatre’s wings before stepping on stage to perform a new production: “It’s so frightening, you feel like you might die during the process, as if you’re about to get on a plane that might go down.” Her wide eyes become yet rounder. “I call my closest friends and family at that point and they calm me down. But at the same time, when things are frightening, they’re often very exciting.” And so, Jones the actress does occasionally relent to Jones the person. I ﬁnd out she is single: earlier this year she split up from Ed Fornieles, the artist boyfriend she met while she studied at Oxford and he at the Ruskin. But this doesn’t mean she’ll move to Los Angeles because home is where her family, friends and Radio 4 are. She likes to cook pasta and, occasionally, swim. She has a problem with eating vegetables. She keeps slim through constant worrying. She doesn’t Google herself because “you end up reading something negative and it’s so depressing”. She’s a “technological dinosaur” who isn’t on any social media. Soon she is going to have some muchneeded time off, heading to Mexico with friends. She’s very scatty, and has a habit of leaving phones and shoes on trains. And, perhaps most tellingly, she’s a massive fan of Virginia Woolf. Q “The Invisible Woman” is released on February 7 ALASDAIR MCLELLAN

GETTY

can’t remember the name of a director she admires (it turns out to be Andrea Arnold) she covers her eyes with eight small ﬁngers and looks like a child playing an adult. Her voice slips between cut-glass clarity, and something more naive around her “ths” and “fs” which approaches a lisp. It’s this chameleon quality that has clearly enchanted the ﬁlm industry. Ralph Fiennes observes: “She is a totally natural actress who can open a window for the audience. Through her eyes she conveys a rich inner life, full of emotion.” And although Jones doesn’t go as far as method acting, she’ll research each role to within an inch of its life. “Because that’s how I can take on a new headspace,” she says. She leaves nothing to chance, not even the smallest detail – if she needs to walk on stage or set with a handbag, she’ll ﬁll it with the things she thinks her character would carry, irrespective of whether they are ever seen. This is not the casual turn-up-performand-leave Jennifer Lawrence school of acting and, wittingly, Doremus cast Lawrence as the easygoing, beer-drinking other woman to Jones’s porcelain-skinned passion in Like Crazy. Jones says her ultimate acting mentor is Helen Mirren – they both starred in Julie Taymor’s nearhallucinogenic screen adaptation of The Tempest – and, as an actress, she never keeps still, jumping from period drama to theatre to romantic comedy to thriller. “For my next role, I’d like to do something completely different again.” She pauses. “Maybe something to do with martial arts.” She smiles; it’s not apparent she is joking. Over our two rounds of peppermint tea, the conversation moves to Girls and Friends, and what each sitcom says about the generation it deﬁnes. Having met Lena Dunham “around” and declared herself a massive fan, Jones has just shot an episode on Girls’ third series. Friends also with Carey Mulligan, Matt Smith, Luke Treadaway, Matthew Goode and Polly Stenham ( Jones was part of the original cast that performed That Face at the Royal Court), she naturally gravitates towards a certain type of British actor: the type that pontiﬁcates, likes Shakespeare, treats theatre, ﬁlm and television as equals,

“Through her eyes she conveys a rich inner life, full of emotion,” says Ralph Fiennes. Pale grey suede pea coat, £2,850, Balenciaga. Black leather courts, £400. Grey leather bag, £1,105. Both Saint Laurent by Hedi Slimane. For stockists, all pages, see Vogue Information See the shoot come to life in Alasdair McLellan’s ﬁlm, only on Vogue’s iPad app

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Alberto Giacometti’s ﬁgures, Alexander Calder’s miniature mobiles and Anselm Kiefer’s 2003 Merkaba painting bask in the warm glow reﬂected in the ancient French stone ﬂoors of Terry de Gunzburg’s London home

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Golden

TOUCH Terry de Gunzburg’s London home is as sublimely edited as her eponymous make-up collection, says Fiona Golfar. Photographed by Martyn Thompson

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t is somehow fitting that a woman with such an impressive art collection should have made her name in the world of beauty with a product that works like a paintbrush. As creative director of Yves Saint Laurent Beauté, it was Terry de Gunzburg who gave us Touche Eclat concealer, that little gold pen beloved of women everywhere, with one rumoured to be sold every 10 seconds. Thirteen years ago, De Gunzburg left YSL to found the beauty insider’s beauty line By Terry, which Space NK’s Nicky Kinnaird describes as “the chicest colours and most flattering textures”. It’s rapidly expanding, selling in 35 countries, and she has every intention of it becoming a global super-brand, putting her in line to become the twenty-first century’s own Helena Rubinstein or Elizabeth Arden. De Gunzburg herself has the warmth and generosity of spirit of any great makeup artist, and it’s a feeling that permeates her London home. It’s a jewellery box of light, colour and incredible works of art, but it is never sterile or intimidating. In fact, it’s one of five homes she shares with her husband, the scientist Jean de Gunzburg, and their large extended family of children and grandchildren. There are also homes in Paris, New York, Tel Aviv and Saint-Rémy, and when they are not at one of them you might find them sailing their boat around the Greek islands. Somehow she manages to navigate all this with ease, although she is the first to say that she has no idea how she manages it. “I will say that when I shop, I do tend to buy in multiples…” she admits. This week she is in London, where her two youngest sons live. Like all her homes, this is a collaboration between herself and the celebrated interior designer Jacques Grange, who has been a friend since she was 20. “The first time we met I was sitting on a sofa waiting to do the make-up for a society client,” she recalls. “He was sitting next to me with his portfolio!” They have been collaborating ever since. Grange, who designed homes for Yves Saint Laurent and Valentino, stays with Terry whenever he is in London, and calls her house his “London hotel”. Her youngest son, Eytan, is about to celebrate his sixteenth birthday, and the family are taking him and a bunch of friends to Momo for dinner. “It’s relaxed and fun there, no?” she asks in her singsong, still very French accent as she surveys her large, open-plan sitting room, Manolos kept happily on (teamed with a crisp white Zara shirt and black Prada trousers) > 164

An Antony Gormley statue surveys the sitting room. The colourful wool-cotton rug, from Galerie du Passage in Paris, is by Ernest Boiceau. The bronze bench is by Claude Lalanne

MARTYN THOMPSON

TERRY WEARS SHIRT BY ZARA. TROUSERS AND BELT, BOTH PRADA. SHOES BY MANOLO BLAHNIK. HAIR: DIANA MOAR. MAKE-UP: ARABELLA PRESTON. SITTINGS EDITOR: FIONA GOLFAR

Top left: Terry’s dressing room is a testament to her love of colour and sense of fun. Above: “There’s nothing better than a crisp white Zara shirt,” says Terry, standing in front of Anselm Kiefer’s Johannisnacht (2007). The End of Summer butterﬂy bust is by Klara Kristalova. Left: The large, open rooms allow the art to breathe. Below: Terry is the master of exquisite table setting, combining fabulous china with market ﬁnds and Zara homeware. “We adore entertaining in this house,” she adds. Below right: The house is a triumph of colour, texture and form, encapsulated by this Seventies sideboard

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A selection of Terry’s own scents adorn the handmade cabinet in the astonishing bathroom, which took three years to complete

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MARTYN THOMPSON

as she curls up on a huge red curved Fifties confides, as she sits on the comfortable Jean Royère “Polar Bear” sofa. The key to white sofa by the bath. This room took this airy house – in which everything is three years to complete. Everything was beautiful, from the art to the food to the crafted by hand. “It is my dream come table settings – is its mix: exquisite china, true,” she says. In fact, Terry doesn’t like to stray too market finds and Zara Home. (Terry has far from her dream. “I can do all my work a soft spot for Zara homeware.) Curved from the bedroom really,” she says of the moss-green velvet sofas flank either side adjoining room. “I love to be on my bed, of the light-filled room, polished stone working, and I keep a huge desk with all my floors found by Grange in an old French papers in my room so I can do that.” She château catch the light and throw a warm is exceptionally driven. Born to a Francoglow into the space. There is work by practically every great modern The ivory cabinet is and contemporary artist in this by André Groult. The room, yet it’s a family home. It drawings, from left, are by Picasso, Van Dongen doesn’t intimidate, it invites – and Matisse just like its owners. Climbing the spiral staircase, Terry leads me through her bedroom and into her bathroom, past the Van Dongen painting of a woman holding a powder puff. “This,” she says, proudly gesturing around the exquisite soft grey bathroom, “was the ‘diamond ring’ I got for my fiftieth birthday.” The room is the jewel in her crown, a triumph of restrained opulence. The art deco-inspired dressing room has walls made in the style of Cuir de Cordoue: painted and embossed leather that is then gilded with bespoke platinum. Her cupboards are filled with colour: shoes, shoes and more shoes, mostly Manolos, but she is no stranger to Pied A Terre. Pink Miu Miu coats hang alongside beaded Oscar de la Renta jackets, pieces English family in Cairo, Terry’s family of Yves Saint Laurent from the glory days lived in great comfort until 1956, when she of the Seventies and Eighties, and a was just one year old, and the family dozen white Zara shirts. Her collection was forced to move to Paris as a result of of custom-made Hermès bags is like an the Suez Crisis. installation in itself. Aptly, beauty products proved a meal ticket even back then. “My grandmother, who was always so chic,” remembers grey-and-white marble Terry, “managed to smuggle out an armful floor leads through to of diamond bracelets hidden by my father the bathroom, where the in pots of face cream, and when we were walls are made of biscuit first in Paris with no money, she would porcelain and a handsell one bracelet at a time in order for us to carved sink cabinet, live. She was so elegant, always immaculate inspired by Armand-Albert Rateau, is in a black pencil skirt, stockings, fine home to an impressive array of scent cashmere top and pearls and red lipstick, bottles. (De Gunzburg’s perfumes, which taking tea from her porcelain cup every she launched in 2011, are exactly as one day at 5pm. She was my role model!” would imagine: very French, slightly She adds: “I know I have a lot but I have powdery, with hints of Guerlain, then always lived with the knowledge that it rose, then amber. They all have something could all be taken away again.” in common; they feel like her – elegant, Having initially wanted to become expensive and European.) “I like to mix an architect, Terry was encouraged by them up and wear them together,” she

her scientist father to take a course in something to fill the months before her classes at the Ecole des Beaux-Arts were due to start. “It was cookery or beauty,” she says. She enrolled at the famous Maison Carita, a house of beauty to which society women flocked for hair and make-up and facial treatments. Here she found her métier, forgetting all about architecture and instead becoming a highly skilled make-up artist, soon working for Vogue with Guy Bourdin and Helmut Newton. Her secret: “I could make skin glow,” she says. “In those days no one did that. Everything was very matt and powdered.” In 1976, she followed her father’s footsteps into the laboratories. The newly launched YSL make-up products had inspired her, so she persuaded her bosses at Carita to let her go into the labs and learn how to create make-up for them. But the exotic world of YSL Beauté was her dream and, in 1985, she joined the company. “It was a love affair,” she remembers, first with Pierre Bergé, then with Yves Saint Laurent and Loulou de la Falaise. And her most famous achievement – the aforementioned illuminating Touche Eclat – was a lightbulb moment in the cosmetic world. When Yves Saint Laurent retired from the fashion world in 2002, so too was it time for Terry to move on. She was newly married to Jean de Gunzburg, a scientist and member of a vastly wealthy family (although as Terry laughingly says, “not that you would have known it, he lived so modestly when I met him”). The couple encouraged one another to follow their dreams. “I remember we were in New York a couple of years after we married and Jean saw a Francis Bacon [painting] he loved. He said that one day he dreamed of owning one and I said, what are you waiting for? Grab life now! And he did, and we started collecting.” Likewise after leaving YSL, she remembers telling her husband she had a dream of creating a really top-quality range of make-up that was desirable in the way an Hermès bag was, for being the best of the best. “‘Then do it,’ he told me, and it was suddenly so clear that I should, so I did. Jean utterly believed in my dream and is my greatest supporter.” A global following of By Terry devotees thanks them both. Q

“I know I have a lot but I have always lived with the knowledge that it could all be taken away again”

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Building the

FUTU RE

storm surges. A typhoon gathers. A levee breaks. It only takes a few ghastly seconds to devastate a city and displace millions of people. When disasters strike, we use the language of the apocalypse. We sit transfixed by news of widespread suffering and destruction and tell each other that such horrors are simply “unimaginable”. We pray that we will forever be spared. And sometimes we write a cheque. But not Jo da Silva. For her, such events are imagined daily. The 46-year-old engineer is a director at Arup, the global firm of 11,000 engineers, designers and planners; she leads Arup International Development, a division that works with humanitarian organisations to build houses, schools, health centres and sanitation systems in the world’s most vulnerable areas. She also works in the aftermath of global disasters, helping countless thousands to return to some sort of normality. “Hot tip for you. The first thing you do if disaster strikes is you put the plug in the bath and fill it up.” Da Silva has just returned from Washington, DC, where she has delivered a speech about education, in the week that Typhoon Haiyan has ravaged the Philippines, taking at least 5,000 lives, reducing 250,000 homes to tinder, and displacing an estimated million people. 168

She’s jet-lagged, and currently negotiating a domestic disaster at home in north London that has seen her rushing out to pick up a feverish child from school. But ask her how to survive Armageddon, and she’s your woman. “Basically, the water might run out, so the biggest storage facility you have in your house is a bath,” she explains with brisk, head-girl efficiency. As a civil engineer with nearly 30 years’ experience, Da Silva’s insights are invaluable, her expertise unique. In 1994, she took a leave of absence to work at the Benaco refugee camp in northern Tanzania, as part of Red R (an NGO of engineers trained to respond to humanitarian crises). She arrived in the camp along with 40,000 victims of the Rwandan genocide, organising water and shelter for the refugees as their numbers near trebled in size. In January 2005, in the wake of the Boxing Day tsunami, she was invited by the United Nations High Commissioner for Refugees to co-ordinate the building of 60,000 temporary shelters in Sri Lanka. She had six months. Needless to say, she made the deadline. Da Silva had been in daily contact with her colleagues at the Arup office in Manila long before Haiyan struck. Her group had been working in the area on buildingassessment and flood-awareness schemes. But in the chaos of the storm’s aftermath, they discussed instead how to redeploy their team to help with food distribution. At >

Jo da Silva in her ofﬁce at Arup International Development in central London. Hair: Paul Donovan. Make-up: Niamh Quinn. Sittings editor: Saranne Woodcroft

JO WEARS DRESS, LANVIN, AT BROWNS. SHOES, TABITHA SIMMONS. JEWELLERY, HER OWN

The inspirational leader of a humanitarian engineering group at Arup, Jo da Silva has got the plans to save the world. By Jo Ellison. Portrait by Philip Sinden

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Above: Da Silva at a transitional refugee centre set up in Aceh after the 2004 tsunami. Right: the structural engineering for Norman Foster’s Stansted Airport was undertaken by Arup. Below: the “ship in a bottle” at the Osaka Maritime Museum

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nce famous throughout the world for their inestimable achievements, today British engineers are an increasingly endangered species: the industry is facing a losing battle in persuading young minds away from their media studies and arts degrees, and only a pitiful 2 per cent of girls study physics at A level. Glamorous, intelligent, articulate, highly talented female engineers like Da Silva are as rare as Siberian tigers. But even she didn’t see engineering as her “calling”. As a child she liked making things (“I did needlework and dressmaking from about the age of nine”) and she would build model stations for her brother’s train set, but she was the sort of hideously gifted type who could seemingly turn her hand to anything – and look good doing so. At West Heath, a school “designed for débutantes” and future royalty (it was Princess Diana’s alma

mater), she played clarinet to Grade 8, did “endless sport” (she was the “fourth best” tennis player and partner of Junior Wimbledon champion Annabel Croft, who was in the year above) and honed a prodigious talent for mathematics. She only chanced upon engineering while flicking through a Rolodex of alphabetised jobs in the careers office: “Accountancy – boring. Actuary – boring,” she recalls. “I kept on going until I got to engineering – civil, electrical, mechanical. I had no idea what it was, but I thought civil engineering sounded fun because it was about building bridges and buildings.” Shortly after there followed a visit to Arup: “There were models everywhere, and tracing paper and felt-tip pens, and everyone was drawing, and I thought, this looks really fun.” When West Heath didn’t offer physics A level, she switched to Stowe before going on to read engineering at Trinity College, Cambridge. And so, in 1989, an effervescent blonde twentysomething with finely chiselled features waltzed into the Arup offices, where she has stayed – with interludes – ever since. A self-described “passionate introvert”, with an insatiable genius for problem-solving, Da Silva must have been a colourful apparition among the hard hats – like Bridget Jones’s bossy, brainbox sister, with the kind of Enid Blytonesque quirks of vocabulary one picks up at posh boarding schools and a preference for climbing mountains over watching television. She was exotic, too; fresh off the plane after a year’s work at the Kipling Camp in India, “in the middle of nowhere”, where she had been working as a “glorified chalet girl” and putting her theoretical education to practical use by building a couple of houses (and a local health centre) with the help of the resident elephant, and fashioning a solar-powered water heater so that she could take a hot shower. At the very least, she reasoned, her skills should ensure that “I could improve the quality of my own life.” Although she insists that she has never once “worried about the woman thing” at work, she stood out, even among her female colleges who all wore “the white shirt with the kind of stripe on” and blue pencil skirts. “Somebody, not long ago, told me that they specifically remembered my DMs,” she says of her Eighties style; today it is more draped and Lanvin-like, and religiously low-heeled. “I had a very short yellow tweed miniskirt from Jigsaw and black opaque tights. It was nice he remembered that the yellow laces matched the yellow top,” she adds, “because I had red ones as well and used to change them.”

ARUP

Top: one of the kindergartens designed by Arup International Development for the Sabre Trust in Ghana. Above: Jo da Silva in Indonesia with Fadlullah Wilmot of Muslim Aid, following the Boxing Day tsunami of 2004

first, aid work was focused primarily on emergency relief – getting food, medicine and water to the worst affected areas – and Da Silva’s involvement was minimal. Her role will only be fully revealed in the weeks and months ahead as the country begins its slow recovery and she starts liaising with humanitarian agencies and local communities about how best to rebuild the Philippines’ fragile infrastructure. “There is going to be a real need for shelter,” she says about the bigger picture, from an airy, corporate boardroom at Arup’s Fitzrovia headquarters. “People need homes from which they can rebuild their lives. But it’s not actually about building lots of houses. It is about creating a better environment that will enable those communities not only to survive this disaster but be better placed to survive the next typhoon – that will inevitably come – and actually thrive.” To that end, she expects to work with the Red Cross, Habitat for Humanity, Save the Children and others, helping them on the big projects, like how to build shelters with roofs that stay intact in high winds, as well as initiating smaller, yet no less vital schemes, like the building of safe chests so that teaching materials may be salvaged: “Because what good is a school without any teaching aids?” And while she fully expects to go out to the Philippines, she’s cautious about presenting herself as some sort of avenging angel of the dispossessed. “I think the really big message is not about people flying in from outside,” she says. “It is about building the capacity of local people to assist their own communities.”

Back then, the computer age was in its infancy and engineering was going through seismic change: new technology presented engineers with infinite opportunities for analysis and Da Silva worked on some of the most dazzling projects undertaken, like Stansted Airport, with its revolutionary thin shell roof, and the gargantuan Chek Lap Kok airport in Hong Kong. For the Osaka Maritime Museum, the architect envisaged a ship in a bottle: she helped deliver “an 80m glass hemisphere, floating in the sea”. “I chose to go into buildings because it was sexy,” she says. “I worked with some of the most famous architects in the world, like Norman Foster, Richard Rogers and Michael Hopkins. It was exciting.” Neither did she begrudge the “starchitects” their disproportionately elevated status. “To me, designing a building is a collaborative effort,” she shrugs. “The architect is the lead singer, in the same way that Mick Jagger is the lead singer of the Rolling Stones. But the Rolling Stones aren’t Mick Jagger.” And she may well have carried on in much the same way were it not for Rwanda, and the epiphany she had while working there. “I saw more dead bodies than some soldiers see in an age of modern warfare,” she explains of the brutal injuries and mutilations she witnessed. “But the thing that really made a difference was this: there was this one massive refugee camp which only stopped because there was a lake. And I only spent four days there, but in that time I just watched the water going down – glug, glug, glug – like watching someone drinking a pint of beer. And there was a forest, and I watched that forest fall backwards, like an army in retreat: the trees just walked backwards because they were being chopped down for firewood and for people to make shelter.” The camp, she realised, was a microcosm of the world. “What I’d seen in this camp was playing out on a global scale, with seven billion people consuming our planet.” It was horrifying to see, but as an engineer she was uniquely placed to do something about it. “So I moved my career very purposefully away from airports to what I call social infrastructure. Structural engineering is immense fun,” she continues. “It’s wonderful, but really what you focus on is the design of a product and not much of it is about people. Humanitarian engineering is engineering that seeks a positive social outcome.” Since then she has only worked on projects with this in mind. She built Sure Start Nurseries in deprived areas of London, underground stations, libraries and many of the Academy Schools. Since founding the

development group, in 2007, she has focused on international projects, drawing on the “ready-made army of 11,000 people” at Arup whom she can tap for knowledge and skills, and working on sanitation programmes in Indonesia, rebuilding homes in postearthquake zones such as Haiti and Pakistan, and designing no-energy kindergartens in Ghana, to name but a fraction. She is passionate about school building and education. “I mean, my education was Stowe, which was inspirationally beautiful. How can kids be inspired to have dignity and self-respect in these really grotty facilities where the toilets are so disgusting the children won’t even use them?” she says. Even in disaster-relief areas, one of her first priorities is to get the schools running again. “Kids going to school is a deep sign of normality,” she explains, “a critical building block to getting life back on

Glamorous, articulate female engineers like Da Silva are as rare as Siberian tigers track. The consequence of not going back to school is terrible, because a lost education affects you for the rest of your life.” If her carbon footprint is appallingly huge, it’s because she travels so much for work. (“At home it’s virtually zero,” she insists. “I don’t go to supermarkets or buy things in packets.”) But her years of being embedded with communities abroad are over. Shortly after she returned from Sri Lanka, she moved in with her partner and his two children, then four and seven, and she is mindful of abandoning the family home, or leaving her 81-year-old mother alone, for long spells. Today, she tends only to visit disaster areas for a couple of weeks in order to get a practical overview and understand the specifics of the problems. “Once you’ve worked in those disaster situations you’re aware that they’re just very messy, very stressful and often very distressing, and they’re not environments where many people are naturally effective. It’s not something you rush off to do.” Instead she leads from London. And lead she does. Her young colleagues all testify to her passion and sometimes terrifying drive. “She’s really tough, very energetic,” says Sandra Diaz, a Spanish-

born technical designer looking at waterdistribution programmes in Uganda. “But she’s good at explaining really difficult ideas in a basic concept, which is very important.” Samantha Stratton-Short, a former architect who worked alongside Da Silva in Sri Lanka and will almost certainly assist Habitats for Humanity in the Philippines, describes her as being “uncompromising in the positive sense. She sets the vision and the standard”. Da Silva is deeply proud of the work she has done. Of course, she still marvels at the “whizzy analysis skills” she brought to the building of the National Portrait Gallery extension, constructed in an impossible locked space in the boiler yard at the back of the National Gallery, and incorporating the late-draft inclusion of a rooftop restaurant (“it was so clever, so inventive”), but latterly it’s the simplest projects that move her most: “I have provided shelter in post-disaster situations and handed the keys to someone – to a fairly basic hut – and watched women transform in a week. It is not the key to their shelter, it is the key to unlocking their confidence and psychological ability to get on with it. When you give someone a home they feel secure, and they can carry about their normal household duties. That is what enables people to recover.” No question, Da Silva is a remarkable piece of engineering. On meeting her, one can’t help feeling rather chastened by one’s own lack of achievements. Does she hope that lots of girls might be inspired also to follow her career path? Maybe. The paucity of information about engineering available to students, even now, is a subject that endlessly frustrates her: “people don’t even know that it exists as a career.” And she was fascinated and excited that the inaugural Queen Elizabeth Prize for Engineering last year was shared by the team who invented the internet, because it opened everyone’s eyes to an “exploding universe of engineering that now includes biotech engineering and nano-engineering and all those people who design these new gizmos”. So if she persuades more young girls to do maths then she’ll be happy. But she’ll be happier still “if Melinda Gates picks up Vogue when she’s passing through London, and says, ‘I never realised how much we needed engineering in our programme. Can you come and talk to me?’ That would be great!” she says. At the very least, she might have persuaded you to install a water butt. And I bet you’ll never look at your bath the same way again. Q 171

Portrait of a

WOMAN On the eve of a major exhibition, Vogue asked David Bailey to select pictures of the extraordinary women he has photographed. He explains the significance of each, while Catherine Bailey, his wife, describes her life in front of his lens Catherine in New York (2013)

he ﬁrst time I met Bailey was at his Roger Street studios. I was 19, a nice middle-class girl from Winchester who had only been modelling for about ﬁve months. We were shooting an Avon calendar. I was nervous meeting him. Bailey was a name I’d heard all my life; as a young woman my mother had wanted to be a model, and Bailey was legendary in our house. And, of course, as a model, I’d heard about his reputation. But he wasn’t as I expected at all. He was friendly. And charming.

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Straight away he put me at ease and made me feel good about myself. All the crap that people say just wasn’t true. We started shooting collections stories for Italian Vogue soon after, and became a couple about 18 months later. I think the thing he saw in me – that he looks for in everyone – was personality. When I started modelling, I wasn’t what the fashion industry wanted: the girls all had big juicy lips and little puggy noses, and I wasn’t in that mould. Bailey’s never really gone for a mainstream look, he’s always liked something slightly off-centre. His women all have a certain quirk. And I was quirky. > 179

C AT H E R I N E B A I L E Y, 1 9 9 2 173

JEAN SHRIMPTON, L AT E 1 9 6 0 s “Like Kate Moss, Jean has unbelievable democratic appeal. I’ve never really understood it, and I’ve never wanted to. Because that’s the magic.” David Bailey

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DAVID BAILEY

M E R Y L S T R E E P, 1 9 8 0

Y O K O O N O , 1 9 74

“One of the greatest actresses, and terrific-looking – she’s up there with Nicholson and Brando. A total original.”

“John Lennon asked me to take this. Yoko’s interesting. Unlike most people, I think she was a good thing for Lennon, but they were an odd couple – so extreme and yet so normal. She was easy on the shoot, very professional and co-operative; afterwards she gave me A Box of Smile.”

TINA TURNER, 1984

K AT E MO S S , 2 0 1 3

“I love Tina: she’s so full of energy. She was sexy. She is sexy.”

“Everyone is drawn to Kate: men, women, canaries, budgerigars… Everyone loves her.”

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MOTHER AND CHILD

EA ST END, 1968

“I took this on the Sepik River in Papua New Guinea. I went up there in a canoe. The people living there had never seen a Polaroid camera before, but they were smart. They thought my pictures were like a broken mirror, because the image never changes.”

“I did this as part of a series of pictures around the East End: it was a brief encounter. I think this woman is still in her thirties, but she looks older: she would have had a rough life. She reminds me of the women I grew up around: they were strong and had aspirations for us. Women were the backbone of the family.”

PE N E L OPE T R E E , L AT E 1 9 6 0 s “Penelope was the first hippy-looking woman I ever saw – even before the hippies. She wore the shortest skirts I had ever seen. I loved her because she looked like Jiminy Cricket.”

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NINETTE FINCH, 2004

“I shot this for my book Bailey’s Democracy, a series of nudes I worked on for about four years. Each sitter got six clicks and I’d let them do their own poses. Some of the men were worried about their dicks looking small, but the women seemed completely at ease.”

DAVID BAILEY

DIANA V R EEL A ND, 1967 “The queen bee of fashion: she became one of my best mates in New York – I’d have dinner with her every Thursday. She laughed all the time, and this shot – taken at my studio in London – is absolutely the way I see her.” 177

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DAVID BAILEY

“WOMEN ARE BEAUTIFUL. EVERYONE HAS SOMETHING EXTR AORDINARY ABOUT THEM WHEN THEY’RE CAUGHT IN A STATIC FRAME” Catherine Bailey

Catherine the Great: opposite, posing for Bailey in 1984. This page, from top, in London in 2000; with the couple’s daughter Paloma on Primrose Hill, 1986; with their son Sascha Bailey, 2002

Bailey makes me feel very beautiful. I think he makes everyone feel like that. He gives you his whole attention, and wants to get the best of you. If there’s any consistency in these pictures, it’s in the relationship he’s found with these women in the moment he has with them – whether it be two hours with Tina Turner, or a woman in an East End pub. Bailey allows people to be who they are in that moment. We’ve worked on so many things together – fashion shoots, nudes, reportage. Some of the work has been considered provocative, but I’ve never felt the need to defend it. I’ve never done anything I haven’t wanted to do. Generally, it’s other women who have had problems with the work, which I ﬁnd extraordinary. The way I see it, men have always looked at the female form. You could say they have objectiﬁed it, but so could you argue that men have praised it. Women are beautiful. Everyone has something extraordinary about them when they’re caught in a static frame. Even when I haven’t been sure about the picture while it’s being taken, I’ve learnt that I will appreciate them in time. It’s been interesting doing the portrait exhibition and remembering how I felt about certain pictures when they were taken. I was uncomfortable, for example, with one of the pictures of me giving birth to Paloma. But now I realise I was missing the point: it’s not a beauty picture, it’s about a process a woman goes through, and I think it’s an important image – sometimes I just need a bit of emotional and physical distance before I can really see them. I’d never describe myself as Bailey’s “muse”. I understand it should be taken as a compliment but, in my mind, it implies too much of a “thing”. It puts a label on you which suggests that you’re somehow being used, whereas I see our work together as being a partnership. I’m not saying that we discuss exactly what we’re going to shoot and how we’re going to do it but, as our relationship has evolved, I’ve come to understand the references and the way Bailey looks at things, so that I know what he wants. There’s more of a balance in the relationship. Besides, Bailey never stops. He’s always taking pictures, so if you spend time with him you’ve no choice as to whether you’ll be in them or not. There’ll be a whole room of me at the National Portrait Gallery show – scores of pictures spanning our 30 years together. You could say it’s a document of my life, but I don’t really think of these pictures like that. The family snaps in the photo albums are the document, whereas lots of these pictures are ideas and interpretations of things that weren’t as personally relevant. But seeing your career – and life – in front of you like that is fantastic. I just wish my mother were alive to see it. She would have been so pleased. Q “Bailey’s Stardust”, sponsored by Hugo Boss, is at the National Portrait Gallery (Npg.org.uk) until June 1 179

Do the

maths One season ÷ five women = a whole new wardrobe. But how much of it do they actually wear? They present their findings to Fiona Golfar. Photographs by Benjamin McMahon

DAISY LOWE Model and actress

“I really enjoy the creative process of shopping. I am an ad-hoc shopper – I love everything from vintage to high street to high end. Liberty and Browns are two of my favourite stores, and I adore Lark Vintage in Somerset – it’s an amazing treasure trove. Because I see the shows early, I have “falling in love” moments. This season it was with Saint Laurent. I didn’t sleep for thinking about it. I wanted the knitted cape so badly, I bought it from the online store at five in the morning and I’ve worn it non-stop since… I like to shop with my mum or my friend Jonah so I can get a second opinion. I can’t resist a good pair of heels, but they’re never a great buy for me; because I’m tall, I don’t like to tower, and so I only wear them for special occasions. I also like dancing and so, for me, flats are easier.” 180

Daisy Lowe, wearing her beloved Saint Laurent. Hair throughout: Diana Moar and Lyndell Mansﬁeld. Make-up throughout: Arabella Preston. Sittings editor: Fiona Golfar

HAIR: LYNDELL MANSFIELD

ITEM BOUGHT

WORN

Dolce & Gabbana bag Vintage dress Reformation floral dress Reformation long chiffon dress Reformation black silk jumpsuit Reformation patterned jumpsuit Miu Miu bag J Brand skinny jeans Saint Laurent black chiffon dress Saint Laurent floral chiffon dress Saint Laurent black poncho Saint Laurent wallet Saint Laurent hat Saint Laurent boots Saint Laurent suit Prada boots Prada coat Topshop dress Topshop socks 3 Fifi Chachnil sets of underwear 2 pairs of Wolford tights American Apparel T-shirt Acne T-shirt

92 0 4 1 0 2 62 25 5 12 16 62 8 19 4 2 9 0 15 6 8 16 12

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VITA LAMBINA Mother and wife

“I wear high fashion every day.” Here, Vita is in Prada

“I shop right at the beginning of the season. I attend the fashion shows – Chanel is my favourite, I buy something there every year, but I’m also a fan of Stella McCartney and Dolce & Gabbana – then I decide what I like and the shop assistants add me to the waiting list. That way, I get pieces as soon as they arrive in store. I also shop throughout the season. If I have a special occasion – I go to a lot of black-tie events – then I buy specifically for it. I mix new and old; I even have some Gianni Versace gowns I still wear. I wear high fashion every day. I might put on a Givenchy sweatshirt and Phillip Lim leather shorts to do the school run, and then this full Prada look for dinner at Coya. My husband loves me to dress up.” ITEM BOUGHT

WORN

Alexander McQueen evening gown Stella McCartney silk day dress Stella McCartney silk trouser suit Stella McCartney jacket Stella McCartney skate trousers Stella McCartney mohair sweater Stella McCartney stripy silk trousers Stella McCartney silk trousers Stella McCartney silk purple blouse Dolce & Gabbana lace dress Dolce & Gabbana necklace Charlotte Olympia clutch Dior evening dress Dior shoes Dior Diorbar bag Repossi bandage ring Saint Laurent velvet miniskirt Saint Laurent black top Saint Laurent flower-print blouse Saint Laurent tights with crystals Hermès Kelly clutch Hermès cashmere scarf Hermès alligator-skin Birkin bag Chanel stingray-skin Boy bag Chanel boots with chains La Perla bodysuit La Perla tights La Perla lingerie Missoni tunic Maison Michel hat Zadig & Voltaire cashmere sweater Zadig & Voltaire cashmere sweater All Saints leather skirt 3 All Saints T-shirts Icon by Julia Safin evening dress Givenchy sweatshirt Givenchy jacket 2 Stella for Adidas leggings 2 Stella for Adidas tops 2 Stella for Adidas sports shorts 2 Stella for Adidas sports vests Stella for Adidas trainers Prada leather dress Prada shoes Prada fake-fur coat

3 5 4 9 5 12 3 6 0 5 2 7 1 4 15 36 4 2 2 2 2 3 17 22 10 3 10 10 0 5 8 5 5 12 1 8 0 30 32 32 32 32 3 9 2

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BENJAMIN McMAHON

Blanche is wearing a Forte Forte shirt from Bluebird, a Kenzo sweater from Net-a-Porter, a Theory skirt from Thecorner.com and boots by Pretty Ballerinas

ITEM BOUGHT

WORN

Marni cardigan 3.1 Phillip Lim black silk playsuit Meli Melo camera bag Kurt Geiger ponyskin shoes Pretty Ballerinas black riding boots Cos chunky-knit sweater Cos knit dress Cos fluoro sweater Isabel Marant patterned cords Rag & Bone dress Alexander McQueen sweater Maje biker jacket Comme des Garçons sweater Theory pleated leather skirt Kenzo tiger sweater Stella McCartney faux-suede boots Stella McCartney leopard sweater Hogan tiger-print shoes Forte Forte shirt Oliver Brown jodhpurs Stella for Adidas tracksuit bottoms Stella for Adidas running shoes Stella for Adidas sports bra Katie Hillier rabbit necklace Hat from Vienna

15 3 4 25 3 4 2 1 14 4 6 20 12 4 11 2 15 5 15 10 30 30 34 70 3

BLANCHE VAUGHAN

HAIR: DIANA MOAR

Food writer

“I love clothes; I shop on a whim throughout the season with no real planning. I work from home conceiving recipes, which involves being quite relaxed and comfortable, but I go out most nights and often to things I have to dress up for. Most weekends are spent in Devon which calls for a different style, one that’s less sharp. When in London, I might meet a friend at Dover Street Market and shop there afterwards. I also like Aimé on Ledbury Road for its low-key, high-end designers. I find the mistakes I make are more often on the high street, where I am seduced by the low prices but might get little wear out of them. When it comes to more expensive pieces though, I focus, so they usually end up being better purchases.” 183

ITEM BOUGHT

WORN

Earnest Sewn navy-blue skinny jeans Vince charcoal long-sleeve T-shirt 7 for All Mankind Roxanne jeans 7 for All Mankind Ginger jeans Arena black racerback vest Arena neon racerback vest Kendall Conrad brass hoop earrings Kendall Conrad brass stick earrings Chakra red yoga vest Chakra orange yoga vest Chakra yellow yoga vest Chakra green yoga vest Chakra turquoise yoga vest Chakra blue yoga vest Chakra purple yoga vest Chakra purple yoga shorts Chakra orange kaftan Helmut Lang black sleeveless dress Helmut Lang black asymmetrical knit dress Maison Martin Margiela black shirtdress Maison Martin Margiela black blazer Clare Vivier black and gunmetal-patina leather fold-over clutch Saint Laurent black and antique-gold leather clutch Pierre Hardy black strappy heels Anne Fontaine black Lyrique mesh T-shirt 2 Anne Fontaine black Nuage shirts 2 Anne Fontaine white Canelle shirts Joseph black leather leggings Joseph black stretch-leather leggings Céline black Triple shopper tote bag Missoni silver tiger-pattern bikini Paul Smith pink and black bikini La Perla black and gold embroidered bikini La Perla black lace bra and knickers La Perla black bra and knickers La Perla mauve bra and knickers La Perla nude bra and knickers 2 La Perla black lace lingerie one-pieces Gap olive skinny khakis Gap white cotton baggy shirt Acne black ruched-sleeve dress Acne black skinny jeans Acne black short matt leather boots Acne black high leather and suede boots Chalayan black box coat Chalayan black crossover top

16 13 6 8 6 6 18 20 18 19 17 16 14 17 18 17 4 6 8 4 2 10 19 23 3 2 2 8 3 0 6 8 3 2 2 2 2 2 5 6 5 0 10 6 10 0

KAREN ELLIS

“For someone who works around the fashion industry, I hate shopping. I see myself as a serial replacer – I know what works on me and I just update it every season. For my work life, I wear black, black and maybe some more black. But at home, I wear white. I wear colour when I practise yoga. This season, my shopping has been all over the place. I jumped between climates quite a bit, and what I thought I’d wear, I didn’t, so I shopped on my travels for pieces I can easily pack, reinvent and layer up.” 184

Karen is wearing a Maison Martin Margiela top and Joseph leather trousers. On the chair is her Saint Laurent clutch

BENJAMIN McMAHON

HAIR: DIANA MOAR

Creative director in the beauty-advertising industry

SARAH HISCOX

Artist specialising in Byzantine icons “I paint from home so I am prone to the lure of online shopping. I usually buy pieces after seeing them on my friends; I get that ‘have to have it’ feeling. This season, I just had to find a pair of Céline burgundy skate shoes. It took me three days of obsessive trawling online to track down the ones I wanted. Likewise, I knew that my Louis Vuitton tote would make my life complete and I would never need another bag again… Well, until the next time. I often shop at the online consignment clothes store Vestiairecollective.com. It’s where I bought this Chanel gilet, which was unworn and a great price. What I have learnt over the years is I would rather buy fewer, higher quality clothes with longevity than mounds of cheaper pieces with a shorter shelf life.”

ITEM BOUGHT

WORN

Marni black cashmere sweater Marks & Spencer white cotton knickers Brown cord jacket from a car-boot sale in Marlborough Louis Vuitton MM Neverfull bag Céline snakeskin skate shoes Céline maroon ponyskin skate shoes Chloé camel overcoat Chanel gilet French market harem pants Cos grey skinny jeans Nike Air Max trainers Trilogy brown cords Engraved lapis pendant from a market in Greece Gap red cotton pyjamas Zara tartan scarf Ray-Ban glasses Old Town Guernsey sweater

14 60 12 62 15 22 0 3 6 20 30 14 110 15 2 72 3

Sarah is wearing a vintage Chanel gilet, an Isabel Marant long-sleeved T-shirt, Current Elliott boyfriend jeans and Nike Air Max trainers. Beside her is her Louis Vuitton monogrammed tote

185

DRIES VAN NOTEN

YSL GLOSS VOLUPTE IN GOLD, £21

CHANEL LIGNE GRAPHIQUE DE CHANEL IN BRONZE, £26

MAYBELLINE MASTER DRAMA CHROMATICS LINER IN VIBRANT GOLD, £4.50

Golden RULES

MAC COSMETICS PIGMENT IN OLD GOLD, £17

PAUL BOWDEN; JAMES COCHRANE; PAMELA BERKOVIC

Embrace a new era of beauty, where the guiding principle is a delicate attention to detail, says Jessica Hogan

new season carries with it a certain weight of expectation and responsibility. How will the professionals inspire us anew? Backstage at Dries Van Noten s/s ’14, the master of make-up Peter Philips and hairstylist Sam McKnight rewrote the rule book by tracing individual eyelashes and side partings with gold leaf. “It worked well with the gold in the collection,” explained McKnight, “but blink and you might miss it.” It was the perfect mix of minimalism and opulence, delicacy and lavishness, so beautifully unexpected and refreshingly new that it elicited a sharp intake of breath, and also the thought that it could be something that you might – just might – consider trying for yourself. Yes, that’s exactly what we were waiting for. Q 187

REED KRAKOFF

VOGUEbeauty

ECZEMA, PSORIASIS AND ROSACEA Inﬂammations of the skin characterised by unsightly redness, rashes and itching

PAUL BOWDEN; JAMES COCHRANE; ISTOCK; JODY TODD

7HOTOSEE$R3USAN -AYOU Cadogan Clinic, London SW1 (020 7901 8500; Cadoganclinic.com) Warm, highly experienced and super-sharp, she works closely with other specialists at the clinic so, for example, if hormones are implicated in triggering your condition, she can cross-refer to the on-site endocrinologist. Also runs a weekly paediatric clinic. s0ROFESSOR#HRISTOPHER 'RIFlTHSSalford Royal NHS Foundation Trust, Manchester (Srft.nhs.uk) Has a wealth of experience. Very interested in the “brain-skin axis” (how thinking can affect skin mechanisms).

Health checks

Saving FACE Needing to visit a dermatologist may be thrust upon you, but you’ll still want to ﬁnd the best. Here’s our insider’s directory. By Kelly Gilbert

ACNE

The eruption of pimples and pustules, most especially (and annoyingly) on the face

Who to see: Dr Nick Lowe Cranley Clinic, London W1 (020 7499 3223; Drnicklowe.com) He takes the problem seriously. “It’s a medical condition and deserves attention.” With a considered, integrated approach, he identiﬁes the cause while also addressing current breakouts and old scarring. Retin-A to resurface, low-dose antibiotics to clear and Intense Pulsed Light to “draw out” residual spots are

just some of the treatments available at Dr Lowe’s reassuring clinic. s$R,UCY/STLERE St George’s Healthcare NHS Trust, London SW17 (020 8725 2500; Stgeorges.nhs.uk) and The Lister Hospital, London SW1 (020 7730 8298; Thelisterhospital.com) Known and appreciated for her supportive manner, Dr Ostlere is particularly interested in treating severe cases and has a great track record with teenagers. s$R"ARBARA+UBICKA32 Clabon Mews, London SW1 (020 7125 0521; Drbarbarakubicka.co.uk) With a practice in the basem*nt of her impossibly chic Belgravia mews home, Dr Kubicka’s forte is in treating acne scarring by combining derma-rolling with light therapy and bespoke mesotherapy.

The analysis of moles, lesions and irregular marks, particularly important for freckled and pigmentationprone skin 7HOTOSEE$R-ARKO Lens 20 Wimpole Street, London W1 (020 7631 3212; Markolens.com) The quick-witted Dr Lens is always dissecting new papers and researching the latest gadget (he has a nifty laser pen for precision treatment of pigmentation). He is also affable, and will make whipping off a suspect mole a breeze. s$R*ONATHAN"OWLING Cadogan Clinic, London SW1 (020 7901 8500; Cadoganclinic.com) An early detection specialist, and head of the Cadogan’s Mole & Skin Cancer Screening Clinic. On-site screening facilities and operating theatres mean you can be seen and treated swiftly in one place. 189

VOGUEbeauty

4 Light therapy

The practice of pushing a co*cktail of vitamins and hyaluronic acid into the epidermis using micro needling to enhance a jaded, lacklustre or post-illness complexion Who to see: $R6£RONIQUE3IMON9a West Halkin Street, London SW1 (020 7235 0679; Simontherapie.com) Dr Simon offers an excellent pimped-up mesotherapy, with a facial before and added LED light after, named the Rejuvenator, and is appreciated for her focus on skin improvement before agreeing to further intervention. s$R!NNE-ENDELOVICI25 Wimpole Street, London W1 (020 7637 0548) This elegant Frenchwoman knows good skin and how to achieve it. She likes to blend a bespoke mix for each client, for example, adding more zinc for acne-prone skin or upping the hyaluronic content to combat dehydration.

LUMPS & BUMPS The analysis of complicated birthmarks through to the diagnosis of developing lumps

7HOTOSEE$R.EIL7ALKER Stratum Clinic, London W1 and Oxford (01865 320790; Stratumclinics.com) A pioneer of micrographic surgery, favoured for its removal rates of unwanted cells. Plus he’s very adept with his lasers for tackling birthmarks. s$R'EOFFREY-ULLAN Medicetics, London W1 and Cirencester (020 7402 2033; Medicetics.com) A facial anatomy specialist, he has spent many years working in a teaching hospital, and now brings this rigour to a private clinic. 190

PEELS

Applying an exfoliant – usually an enzyme or acid – to the face to speed skin-renewal, smooth skin and treat hyper-pigmentation and scarring Who to see: $R3AM"UNTING 10 Harley Street, London W1 (020 7467 8493; Drsambunting.com) She understands that many of us just want to look prettier, fresher and have our make-up sit smoothly on our skin. She likes to edit home skincare routines and offers gentle treatments to work over time and best complement your lifestyle, saying, “Slow and steady wins the race in my book.” s$R-ARKO,ENS 20 Wimpole Street, London W1 (020 7631 3212; Markolens. com) When not analysing moles, he’s in his element mixing up bespoke peels. He advises: “It’s sensible to swap in a dermatologist peel once a year in place of a usual facialist appointment.”

PAUL BOWDEN; JAMES COCHRANE; ISTOCK; JODY TODD

5. Mesotherapy

VICTORIA BECKHAM

Who to see: Dr Diana Piana-Mariton French Cosmetic Medical Company, London W1 (020 7637 0548) In a room of clanking machines, Dr Piana-Mariton has an inclusive approach: she’ll near-constantly check on your wellbeing as she works, explaining as she goes. She offers the best-proven light treatments, dependent on your need, but her “baby”, Fraxel (multi-pinpoint laser beams which go beneath the skin to stimulate ﬁrming and renewal), is particularly sought-after. s$R!NDREW-ARKEY The Lister Hospital, London SW1 (020 7730 1219; Thelisterhospital.com) He’s published over 70 papers, co-founded St Thomas’s NHS Laser Unit, and is known as the go-to laser man among his peers. If you have a problem a laser can treat, he knows of it.

JIL SANDER

Using IPL and laser to penetrate the skin to help clear redness and pigmentation and also ﬁrm and rejuvenate

Fitness

TRIBES

PETER PILOTTO

Juggling workouts and day-to-day life means your kit should reflect your style, and with so many new fitness labels, it’s now easier than ever to blur the boundaries between fashion and exercise. But which tribe are you, asks Calgary Avansino

PHILIPS HEADPHONES, £65, PHILIPS. CO.UK

REVLON TOP SPEED NAIL ENAMEL IN ORCHID, £6.50

192

ESSIE LUXE NAIL POLISH IN STROKE OF BRILLIANCE, £8

BODYISM SPORTS BRA, £40, BODYISM.COM

THE COLOUR CHAMELEON • Brazen, confident, full of personality • Loves colourful pieces from Peter Pilotto, Mary Katrantzou, Jonathan Saunders and Roksanda Ilincic (and harbours a secret obsession for Sophia Webster’s shoes and jewellery by Tom Binns) • Combines hard interval training with military-style sessions in the park. Loves Barry’s Bootcamp and can definitely run some distance • Colourful types should try the Speedflex workout (a high-tech, high-intensity, machine-based class) and an action-packed Zumba class – guaranteed to put you in a good mood

SPLITS 59 SPORTS BRA, FROM £37, SPLITS59.COM

LUCAS HUGH JACKET, £250, AT NET-A-PORTER.COM

SWEATY BETTY VEST, £70, SWEATY BETTY.COM

LORNA JANE SHORTS, £38, AT ACTIVEINSTYLE.CO.UK

ASICS TRAINERS, £125, ASICS.CO.UK GAP LEGGINGS, £25, GAP.CO.UK

VOGUEbeauty GYM BAG ESSENTIALS

MICHI LEGGINGS, £82, MICHINY.COM

QMS MEDI COSMETICS SPORT ACTIVE CREAM, £66

NIP&FAB DETOX BLEND BODY SCRUB, £10

THE MONOCHROME MUSE • Drawn to modern designs, graphic prints and sculpted shapes, she covets the very newest Saint Laurent leather jacket, tracks Balenciaga’s store-drops religiously, and splurges on Tabitha Simmons shoes • Wears a neat ponytail at the base of the neck in the office as well as at the gym • Favours intense workouts that get the job done fast: the week is packed with interval training such as Tabata and Crossfit • The super-new Psycle spinning classes are in a sleek studio that monochrome fans will love, plus the music is achingly hip • Body-con silhouettes call for strengthening and lengthening: balance kettlebell workouts and TRX instruction with cardio classes like Hiitgirl (High Intensity Interval Training)

BALENCIAGA

LUCAS HUGH JACKET, £250, AT NET-A-PORTER.COM THE PROCESS LEOTARD, £145, LIVETHEPROCESS.COM

CHANEL DEODORANT, £34 SOAPWALLA DEODORANT CREAM, £14, AT BEINGCONTENT.COM

CHARLI COHEN SWEAT TOP, £195, AT AVENUE32.COM VIVO BAREFOOT RUNNING SHOES, £100, VIVOBAREFOOT.COM LEXIE SHORTS, £30, LEXIESHORT. CO.UK

TEVA RUNNING SHOES, £90, TEVA.CO.UK

MARIO TESTINO; JASON LLOYD-EVANS; PAUL BOWDEN

THE PROCESS CLASSIC BRA, £55, LIVETHEPROCESS.COM

THE BOHEMIAN DRESSER JAWBONE ACTIVITY TRACKER BAND, £100, JAWBONE.COM

NIKE X UNDERCOVER GYAKUSOU LEGGINGS, £95, NIKE.COM

• Goes for soft lines, comfortable shapes and a muted palette • Proudly embraces British eccentricity – has been known to wear a sock with a pump and takes every opportunity to don a hat • Seasonal splurges are Marni separates, knitwear from Stella McCartney and palest pink Valentino for evening • Devoted to body-sculpting classes that transform her shape without any need for pounding the pavements • Weekly agenda includes barre, yoga, Pilates and the occasional dance class • Bohemian types love esoteric exercise classes, from paddle-board yoga to hydrospinning. Head to London’s newest hula-hoop classes for the ultimate in ab-perfecting

SONIA RYKIEL

HUMAN PERFORMANCE ENGINEERING RUNNING SHORTS, £47.50, HPECLOTHING.COM

ROXY WETSUIT, £90, ROXY-UK.CO.UK

JAO GOE OIL, £32, AT LIBERTY

DIOR VERNIS NAIL POLISH IN CHARNELLE, £18

ELEMENTAL HERBOLOGY FLOWER HARMONISING MIST, £21

ESTEE LAUDER SUMPTUOUS EXTREME WATERPROOF MASCARA, £22

MIO WORKOUT WONDER, £21, AT SPACENK.CO.UK

LULU ORGANICS HAIR POWDER, £20, AT LIBERTY

193

VOGUEbeauty Burberry Fresh Glow Fluid Nude Radiance, £34 Targets dehydrated and ageing skin while enhancing natural radiance.

Clarins Instant Light Radiance Boosting Complexion Base, £26 Contains impressive skincare benefits and works well mixed with foundation.

Charlotte Tilbury Wonder Glow, £38.50 A godsend for dull, sleep-deprived skin.

Ready,

SET, GLOW

Take a shine to the new generation of highlighters, says Lottie Winter

Dior Glow Maximizer, £22.50 A must-have for tired skin, it instantly illuminates and will conceal dark shadows.

Shu Uemura The Lightbulb, £36 Fuses high coverage with a “lit from within” glow.

Kiko Neon Glow Light Effect Serum, £14 Adds radiance even to sensitive skins.

Smashbox Liquid Halo HD Foundation, £27.50

PAUL BOWDEN

L’Oréal Paris Lumi Magique Instant Radiance Enhancer, £11

For luminosity that lasts, look no further.

The non-greasy formula is ideal for enhancing oilier skins.

Giorgio Armani Fluid Sheer, £34.50 Comes in

Nars Copacabana Illuminator, £22

an array of translucent shades and is a real make-up artist go-to.

An award-winner for its versatility as an overall base or intense highlighter.

195

VOGUEbeauty

2010 “I love this look the most – the old-style glamour. I was still breastfeeding, but Mario Testino called and said, ‘Pleeeease can you just come for a few hours?’ He promised me I could keep covered up, which is why I’m draped in fabric. But I remember there were a lot of shine sprays and his amazing lighting.”

Soap

STORY

As Claudia Schiffer launches a range of shampoos and treatments, she looks back on a life of hair in Vogue

ESSENCE ULTIME DIAMOND COLOR SHAMPOO £5

196

ESSENCE ULTIME CRYSTAL SHINE FINISHING OIL £5.50

ESSENCE ULTIME DIAMOND COLOR CONDITIONER £5

ESSENCE ULTIME OMEGA REPAIR MASK £5.50

1995 1989 “I was 21 and so shy when we shot my first Vogue cover. It was a couture story so they wanted an elaborate updo. Karl Lagerfeld claims this is the picture he saw and said, ‘I want that girl wearing Chanel.’”

“The Nineties was not my favourite period hairwise, and I hated having my hair straightened. I was so used to having big hair with volume that it felt very extreme; it had to be as close to your scalp and face as possible. These days I’m back to wearing my hair straight, but with more volume at the root – a bit more Sixties.”

2009

1989 “This is the look that became my signature style. Terence Donovan shot it very dark, so that what shone out was my mane of blonde hair.”

“Patrick Demarchelier shot this a few years ago. There was a real swing back to matt, very dry hair and a thicker texture. I remember it took a lot of backcombing, but there weren’t any extensions in there – it was all mine!”

MARIO TESTINO; HERB RITTS; TERENCE DONOVAN; MILES ALDRIDGE; PATRICK DEMARCHELIER; PAUL BOWDEN

laudia Schiffer has been advertising shampoo for 25 years. Her long, spun-gold hair, which somehow manages to look even more glossily perfect in real life than it does in the ads, has helped to shift everything from hair spray to hair dye. Ask any blonde (dyed or natural) whose hair they would most like to emulate, and it’s hers. Schiffer’s range, Essence Ultime, also includes a box of dye claiming to be her signature shade. Expect sales of every other blonde hair dye to plummet immediately. “I think I’m most known for my hair. I can’t ever see me changing it now,” she says. She’s always worn her hair long and blonde – the only time she ﬂirted with a shorter look was growing up in Germany when she tried a layered style (OK, let’s just say mullet) inspired by Nena of “99 Red Balloons” fame. But, at 43, good hair takes work. “Because it’s my trade, I am constantly thinking how I can look after it,” she says. “I have root touch-ups every three weeks. If I’m not working, I wash my hair then slather on masks and oils and tie it up in a bun. And I use an intensive treatment mask every time I wash my hair – even if it’s only left on for a minute. But I’m very speciﬁc about how I like my products to feel. On shoots, stylists like ‘second day’ [as opposed to freshly washed] hair, so I wanted to make conditioners with just the right amount of ‘slip’ – your hair should feel soft, but not too silky to do anything with. The shampoos are thick and almost foamy, so they penetrate the hair from root to tip. And I wanted them all to smell as good as a Diptyque candle – warm, enveloping scents like sandalwood and jasmine.” Essence Ultime, which Schiffer has developed in collaboration with Schwarzkopf, is a well-priced, wellformulated range with one magic ingredient: the tantalising prospect of getting one step nearer to girl-in-a-shampoo-ad hair. NM Available from February

RIMMELLONDON.COM

NEW

STAY MATTE FOUNDATION

NEW LIGHTWEIGHT LIQUID MOUSSE TEXTURE LEAVES SKIN SHINELESS, YET FEELS WEIGHTLESS & CAKELESS. THE WEIGHT IS OVER: FINALLY, SHINE HAS MET ITS MATTE.

GEORGIA MAY JAGGER wears Stay Matte Foundation shade 200.

1953

The day I was Queen... Or at least that is how it felt. The year was 1953 and it was Elizabeth II’s coronation. In similar pomp and ceremony I was delivered in a large box tied with a big sash bow. I was delicately lifted out from layers of white tissue paper then carefully slipped on with regal elegance. Everyone’s attention was on the small nine-inch television dwarfed in its walnut cabinet. That is until I swirled into the room. To be continued... www.oxfam.org.uk/vintage

VOGUE INFORMATION In the USA: The Condé Nast Publications Inc. Chairman: S.I. Newhouse, Jr. CEO: Charles H. Townsend President: Robert A. Sauerberg, Jr. Editorial Director: Thomas J. Wallace Artistic Director: Anna Wintour In other countries: Condé Nast International Ltd. Chairman and Chief Executive: Jonathan Newhouse President: Nicholas Coleridge Vice Presidents: Giampaolo Grandi, James Woolhouse and Moritz von Laffert President, Asia-Pacific: James Woolhouse President, New Markets: Carol Cornuau Director of Licences, New Markets: Natascha von Laffert President and Editorial Director, Brand Development: Karina Dobrotvorskaya Vice President & Senior Editor, Brand Development: Anna Harvey Director of Planning: Jason Miles Director of Talent: Thomas Bucaille The Condé Nast Group of Magazines includes: US Vogue, Architectural Digest, Glamour, Brides, Self, GQ, Vanity Fair, Bon Appétit, CN Traveler, Allure, Wired, Lucky, Teen Vogue, The New Yorker, W, Details, Golf Digest, Golf World, Domino UK Vogue, House & Garden, Brides & Setting up Home, The World of Interiors, GQ, Vanity Fair, CN Traveller, Tatler, Glamour, Condé Nast Johansens, GQ Style, Love, Wired France Vogue, Vogue Hommes International, AD, Glamour, Vogue Collections, GQ, AD Collector, Vanity Fair Italy Vogue, L’Uomo Vogue, Vogue Bambini, Glamour, Vogue Gioiello, Vogue Sposa, AD, Sposabella, CN Traveller, GQ, Vanity Fair, GQ Style, Wired, Vogue Accessory, Myself, La Cucina Italiana Germany Vogue, GQ, AD, Glamour, GQ Style, Myself, Wired Spain Vogue, GQ, Vogue Novias, Vogue Niños, Sposabella, CN Traveler, Vogue Colecciones, Vogue Belleza, Glamour, Vogue Joyas, Vogue Complementos, Sposabella Portugal, AD, Vanity Fair Japan Vogue, GQ, Vogue Girl, Wired Taiwan Vogue, GQ Russia Vogue, GQ, AD, Glamour, GQ Style, Tatler, CN Traveller, Allure Mexico and Latin America Vogue Mexico and Latin America, Glamour Mexico and Latin America, AD Mexico, GQ Mexico and Latin America India Vogue, GQ, CN Traveller, AD Published under Joint Venture: Brazil Published by Edições Globo Condé Nast S.A. Vogue, Casa Vogue, Vogue Passarelas, Vogue Noiva, GQ, Glamour Spain Published by Ediciones Conelpa, S.L. S Moda Published under Licence: Australia Published by NewsLifeMedia Vogue, Vogue Living, GQ Bulgaria Published by S Media Team Ltd. Glamour China Published under copyright cooperation by China Pictorial Vogue, Vogue Collections Published by IDG Modern Bride Published under copyright cooperation by Women of China Self, AD, CN Traveler Published under copyright cooperation by China News Service GQ, GQ Style Hungary Published by Axel Springer-Budapest Kiadói Kft. Glamour Korea Published by Doosan Magazine Vogue, GQ, Vogue Girl, Allure, W, GQ Style Poland Published by Burda International Polska Glamour Portugal Published by Edirevistas Sociedade de Publicações, S.A. Vogue, GQ Romania Published by Mediafax Group S.A. Glamour, GQ South Africa Published by Condé Nast Independent Magazines (Pty) Ltd. House & Garden, GQ, Glamour The Netherlands Published by G+J Nederland Glamour, Vogue Thailand Published by Serendipity Media Co. Ltd. Vogue Turkey Published by Dogus Media Group Vogue, GQ Ukraine Published by Publishing House UMH LLC. Vogue Printed by Wyndeham Group. Published by the proprietors, The Condé Nast Publications Ltd, Vogue House, Hanover Square, W1S 1JU. Vogue is distributed by Condé Nast & National Magazine Distributors Ltd (Comag), Tavistock Rd, West Drayton, Middx UB7 7QE (01895 433600; fax, 01895 433605)

The merchandise featured editorially has been ordered from the following stores. Some shops may carry a selection only. Prices and availability were checked at the time of going to press, but we cannot guarantee that prices will not change or that speciﬁc items will be in stock when the magazine is published. We suggest that before visiting a shop you phone to make sure they have your size. In case of difﬁculty, contact Vogue’s Merchandise Department (020 7499 9080). Where unspeciﬁed, stockists are in London or general enquiry numbers are given.

& Other Stories Stories.com A Akris.ch Alberta Ferretti 020 7235 2349 Antipodium.com Anya Hindmarch 020 7501 0168 Apple.com/uk Aspinaloﬂondon.com Asprey 020 7493 6767 B Balenciaga 020 7317 4400 Bamfordwatchdepartment.com Bimbaylola.com Boss 020 7554 5700 Bottega Veneta 020 7838 9394 Brownsfashion.com Burberry.com By Malene Birger 020 7486 0486 C Calvinklein.com Casadei.com Céline (sunglasses) 00 800 7234 5600 Cesare Paciotti 020 7235 3393 Chanel 020 7493 5040 Chanel Fine Jewellery 020 7499 0005 Christopher Kane 020 7518 0680 Christopherraeburn.co.uk Coach 020 3141 8901 D Diane von Furstenberg 020 7499 0886 Dior 020 7172 0172 DKNY 020 7499 6238 Dolce & Gabbana 020 7659 9000 Dover Street Market 020 7518 0680 E Ermanno Scervino 020 7235 0558 F Feathers 020 7589 5802 Fendi 020 7838 6288 Fumbalinas.co.uk G Giorgio Armani 020 7235 6232 Givenchy, Paris 00 33 1 44 43 9990 Gocycle.com Gucci 020 7235 6707 H Harrods 020 7730 1234 Harvey Nichols 020 7235 5000 Hermès 020 7499 8856 H Samuel 0845 609 2000 Hugo 020 7554 5700 J Jerome-dreyfuss.com Jilsander.com Jimmy Choo 020 7823 1051 Joseph 020 7610 8438 K Kenzo.com L Lacoste 020 7225 2851

Lanvin 020 7491 1839 Larssonandjennings.com Loewe 020 7499 0266 Longchamp 020 3141 8141 Louis Vuitton 020 7399 4050 M Manolo Blahnik 020 7352 3863 Marks & Spencer 0845 302 1234 Marni 020 7245 9520 Max Mara 020 7499 7902 Miu Miu 020 7409 0900 Moncler Gamme Rouge 020 7235 0857 Monocle.com Mulberry 020 7491 3900 N Nicholas Kirkwood 020 7290 1404 Nikon.co.uk O Openingceremony.us P Paul Smith 0800 023 4006 Prada 020 7235 0008 Proenzaschouler.com

R Rag & Bone 020 7730 6881 Ralph Lauren 020 7535 4600 Rupert Sanderson 020 7491 2220 S Saint Laurent by Hedi Slimane 020 7493 1800 Salvatore Ferragamo 020 7838 7730 Selfridges 0800 123 400 Sportmax 020 7499 7902 Stella McCartney 020 7518 3100 T Tod’s 020 7493 2237 Tom Ford 020 3141 7805 Tommy Hilﬁger 020 3144 0900 Toryburch.co.uk Toy-watch.com U Uniqlo 020 7290 8090 V Valentino 020 7235 5855 Versace.com Vertu.com Z Zeyneptosun.com

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VOGUE PROMOTION

SOFTLY SOFTLY: ENVELOP YOURSELF IN LUXURIOUS LAYERS OF COOL WOOL TO EMANATE AN EASY ELEGANCE YEAR-ROUND Coat and trousers, Roland Mouret

MEL BLES

SPRING/SUMMER 2014

THE TRENDS: VOGUE’S VIEW Freedom! If the new season has one message, this is it. Time was when fashion was a stubborn dictator, issuing rigid commands about the season’s sole colour, single silhouette, strict voice. How times have changed… Today’s complex and multifaceted lives call for a wardrobe as varied as our days, as impulsive as our moods. Women have cried “freedom” and designers have answered the call. The result is a glorious spring/summer season, emancipated from narrow style dictates and brimming with diverse ideas. Want to wear every colour under the rainbow? Go for it. In the mood for laid-back sportswear one day, lavish opulence the next? There’s nothing to stop you now. From denim to lace, metallic to monochrome, ﬂoral to tribal, designers have conjured a deliciously diverse selection of trends, as inviting as it is inspiring. And if there is a key to the collections, it’s the new feeling of relaxed, easy glamour that trades formality for individuality. How liberating. Let freedom ring... VOGUE.CO.UK For the latest fashion news at your ﬁngertips, visit Vogue.co.uk. View every look from every show, with close-ups and beauty updates, and enjoy all the front-row and backstage action. Plus, don’t miss our international catwalk archive, featuring collections from 2001 to today.

EDITOR: SARAH HARRIS ART DIRECTOR: KATE LAW WRITER/CHIEF SUB-EDITOR: LUCY OLIVIER FASHION COORDINATOR: JULIA HOBBS BEAUTY WRITER: JESSICA HOGAN EDITOR-IN-CHIEF: ALEXANDRA SHULMAN

PRADA

COVER: ROKSANDA ILINCIC S/S 2014, PHOTOGRAPHED BY JASON LLOYD-EVANS. PHOTOGRAPHS: JASON LLOYD-EVANS, MITCHELL SAMS, JAMES COCHRANE, PAUL BOWDEN. © 2014 The Condé Nast Publications Ltd, Vogue House, Hanover Square, London W1S 1JU. Printed by the proprietors, The Condé Nast Publications Ltd. Vogue is distributed by Condé Nast and National Magazines Distributors Ltd (COMAG), Tavistock Road, West Drayton, Middlesex UB7 7QE. All rights reserved. Reproduction in whole or in part, without written permission, is strictly prohibited. Not for resale.

trends

GLORIOUS

technicolour

TE KS

A AD

Q C

E LB

A RT

R ER

A lush rainbow lit up the collections, drenching the new season in head-to-toe primaries and colour-blocked brights. Most dazzling of all are spring/summer’s multicolour creations – looks that pulse with shade upon sumptuous shade

A AD PR DI N FE IC C IN

R BE

U PA

TE RS

C C

AN KS

EL AN H C

“There was a wonderful juxtapositioning of colour this season. Bold and painterly, it reminded me of Peter Blake and his Babe Rainbow.” LUCINDA CHAMBERS, FASHION DIRECTOR 3

head-to-toe lace... transparent tailoring... see-through skirts... exposed lingerie... billowing overlays... bra-less looks...

Blurred

LINES

SIMONE ROCHA

BALMAIN

CHRISTOPHER KANE

Fashion is in a contrary mood, using “sheer” to conceal and to reveal. Contradictions abound as featherlight fabrics in virginal whites blend subtlety with overt exposure. Blurred lines, indeed...

LACE

ISABEL MARANT

ALEXANDER MCQUEEN

STELLA MCCARTNEY

GIAMBATTISTA VALLI

ERDEM

BURBERRY PRORSUM

Combining both the sweet and the sensual sides of sheer, lacework (in all its many varieties) is the easy way to try out transparency

sheer shirting... mix-and-match lace... pleats, rufﬂes and ﬂounces... peek-a-boo patterns... masculine sheers... well-placed pockets... romantic lengths...

ANTONIO BERARDI

BALENCIAGA

ERDEM

FENDI

LACOSTE

Origami folds and translucent tailoring lend a cool intelligence to the trend, replacing ethereal ﬂoatiness with scalpelsharp modernity

JW ANDERSON

CONCEPTUAL

HAIDER ACKERMANN

CHRISTOPHER KANE

SACAI

Lightness may be the overriding mood, but sheer gets down and dirty too. From gothic gowns to boyish looks, see-through blacks reveal the darker side of delicate

LANVIN

Grunge

XXXXX

ROMANTIC

SAINT LAURENT

PAUL SMITH

GIAMBATTISTA VALLI

CHLOE

CHRISTOPHER KANE

Will-o’-the-wisp fabrics in beautifully billowing layers are the epitome of romantic dressing. Add demure lengths and a pure white palette, and the virginal vision is complete

trends

Top COATS

LANVIN

HERMES

Look beyond the traditional to find a whole new take on the trenchcoat this season, from unexpected fabrics (rubber, suede) to sleeveless creations and oversized, cocooning cuts

ANTIPODIUM

TRENCHES

ALEXANDER WANG

SALVATORE FERRAGAMO

DAKS

MICHAEL KORS

BURBERRY PRORSUM

XXXXX

Thank global warming, perhaps, for designers taking a practical approach to summer coats, with a focus on trenches and waterproofs. The fashion forecast is not all showers, though; colour-rich cover-ups bring out the runway rainbow

MIU MIU

CELINE

RALPH LAUREN COLLECTION

DKNY

CELINE

Rainbow brights Summer’s decorative coats forgo sparkling embellishment in favour of dazzling colour. Practical garnishes (deep pockets, hoods, belts) add interest without veering into the realms of surplus ornamentation

MIU MIU

“The new waterproofs feel sporty and urban; play with zips and drawstrings, and push sleeves up to the elbow.” EMILY SHEFFIELD, DEPUTY EDITOR

HI-TECH

LACOSTE

THOMAS TAIT

DKNY

CHRISTOPHER RAEBURN

THOMAS TAIT

The anorak enjoys an elegant update, reimagined as a stylish, billowing cover-up that’s as equally suited to catwalk and country walk. Hi-tech fabrics and fastenings add a sporting edge, making this piece a winning all-rounder

MAX MARA

BALMAIN

PAUL & JOE

VERSACE

acid washes... boiler suits... plaited denim... bomber jackets... baggy trousers... denim duster coats... neckerchiefs... classic white tees... indigo sparkle...

“Executed in printed patchwork silks, juxtaposed with indigo sequins or woven with gilt chains, denim now appeals to every woman, for every occasion.” SARAH HARRIS, FASHION FEATURES DIRECTOR 9

trends

MINECRAFT

Designers continue to mine the metallic trend, sculpting shimmering fabrics into sinuous, body-skimming looks. The result? Pure fashion alchemy

ANTONIO BERARDI

ALTUZARRA

BALMAIN

ALTUZARRA

SALVATORE FERRAGAMO

HAIDER ACKERMANN

SONIA RYKIEL

SAINT LAURENT

DIANE VON FURSTENBERG

Though its evening potential remains undimmed, it is by day that polished silver shines brightest. Chrome bombers and biker jackets, and “embossed” metallic boilersuits have an inner-city-meets-outer-space cool

AKRIS

Silver

VERSACE

TOM FORD

HAIDER ACKERMANN

TOM FORD

While every possible colour enjoyed a metallic makeover this season, it was sharp, sour tones that proved the most desirable. Poisonous greens, vicious pinks, petrol blues and claret reds take shimmer into darker territory, lending a dangerous glamour to the spring/summer rainbow

GIVENCHY BY RICCARDO TISCI

CHROMATIC

VERSACE

RAG & BONE

MAX MARA

ROBERTO CAVALLI

JUST CAVALLI

CHRISTOPHER KANE

EMILIO PUCCI

GOLD

3.1 PHILLIP LIM

AKRIS

LANVIN

MARNI

MEADHAM KIRCHHOFF GUCCI

LANVIN LANVIN

GUCCI

MARC BY MARC JACOBS

DRIES VAN NOTEN

DOLCE & GABBANA

Spring gold has a shameless ostentation that feels delightfully decadent. Molten sheaths, lamé skirts and 18-carat coats revisit showy Eighties allure, while gilt animal prints at Akris and Rodarte are classic Dynasty redux

trends

Come to the

CREASE

CELINE

GUCCI

XXXXX

ALEXANDER WANG

VICTORIA BECKHAM

SALVATORE FERRAGAMO

PRADA

PORTS 1961

Designers have been showing off their origami skills, crafting skirts that ripple with razor-sharp pleats. Best played out in sporty cottons by day, and shimmering metallics by night: take your pick and join the fold...

HAIDER ACKERMANN

ROCHAS

PROENZA SCHOULER

ANTIPODIUM

PROENZA SCHOULER

CHRISTOPHER KANE DRIES VAN NOTEN

“This season’s pleats left the realms of ladylike and got hearts racing. Those in glistening metallics, cut to midi length, feel freshest.” BAY GARNETT, CONTRIBUTING FASHION EDITOR 13

FRINGE BENEFITS

ALTUZARRA ROBERTO CAVALLI

JUNYA WATANABE

EMILIO PUCCI

ALTUZARRA

Fashion hits the global trail, adopting exotic embellishments and plundering ideas from the four corners of the earth, as spring/summer sways to a tribal beat

CALVIN KLEIN COLLECTION

Wanderlust

ALEXANDER McQUEEN

EMILIO PUCCI

VALENTINO

RODARTE

VALENTINO

Tassels and trims swish from head to toe this season. Dangling from hats and bodices, and swinging from skirts and coats, fringing adds fluid movement to the strictest tailored cuts

Global traveller

XXXXX

CALVIN KLEIN COLLECTION

CHLOE

BOTTEGA VENETA

VALENTINO

XXXXX 3.1 PHILLIP LIM

XXXXX DRIES VAN NOTEN

XXXXX

DONNA KARAN

CHLOE

ETRO

Gap-year dressing gets a glamorous makeover, as scarf tops, pyjama suits and sarongs take a turn on the spring/ summer catwalks. Rugged bags and simple, handworked accessories complete the haute-hippy look

“A veritable United Nations of textures and nomadic ﬁnds exude a global charisma.”

IN THE CITY HERMES

GIVENCHY BY RICCARDO TISCI

PROENZA SCHOULER

AKRIS

EMMA ELWICK-BATES, STYLE EDITOR

At the sleeker end of the trend, subtlely exotic designs give an elegant nod to their ethnic origins. Elaborate pleats and folds, native prints and a palette of dusty desert tones bring the call of the wild to city style 15

MARC BY MARC JACOBS

LACOSTE

BALENCIAGA

SACAI

trends

tracksuit bottoms... silky bomber jackets... multiple stripes... breathable mesh... sporty sheers... Velcro fastenings... plimsolls and high-tops...

The SPORTING LIFE

One of this season’s lead stories, the athletic trend comes brimming with old-school attitude. Look for classic touches – plimsolls, racer backs, gym shorts, go-faster stripes – to capture that sports-day spirit 16

TOMMY HILFIGER

EMILIO PUCCI

PRADA

MARNI

team-number tops... elastic belts... football socks... running shorts... drawstring waists... sun visors... vest dresses... zip-up trainers... toned midriffs...

“Yes, hi-tech fabrics and sports mesh abound but what felt freshest this season was the old-school approach to styling.” KATE PHELAN, CONTRIBUTING FASHION EDITOR 17

trends

Back to MONO

SAINT LAURENT

DIANE VON FURSTENBERG

CELINE

BALENCIAGA

RALPH LAUREN COLLECTION

CAROLINA HERRERA ROKSANDA ILINCIC

Pulsing from head to toe, mind-bending monochrome visuals inject high-impact glamour into easy evening looks

MARC BY MARC JACOBS

Pattern play

DIANE VON FURSTENBERG

Monochrome casts off its Sixties connotations for good, as designers play with all manner of decorative devices to give black and white a fresh, modern makeover

Precious decoration brings a surprise softness to strict black-and-white designs, while the plain palette adds an approachable spin to elaborately embellished pieces. Simply beautiful ERDEM

PETER PILOTTO

COUTURE DETAIL

Intelligent design

BOTTEGA VENETA

JIL SANDER FENDI

VICTORIA BECKHAM CAROLINA HERRERA

ALEXANDER WANG SPORTMAX

RODARTE

VICTORIA BECKHAM

Take the modernist approach to monochrome via angular tailored lines, unexpected layers, knife-sharp origami folds and a rigorously pareddown aesthetic

Geometrics

KENZO

RODARTE

RICHARD NICOLL

RALPH LAUREN COLLECTION

MISSONI

Cool and modern yet eminently wearable, graphic geometric pattern ﬁnds its clearest voice when played out in crisp black and white

trends

SQUARE

dance

L BA

AR SC

Last season’s love affair with plaid holds fast, with breezy gingham replacing autumn’s weightier weaves. No rules apply bar one: enjoy! Cowgirl check has a wit and frivolity that lightens any mood

M LA K D

E ER AN JE

E ST

A LL N

VE AR C

AR G AR

W O

VE AR C ZO PO L DE

“This feels like gingham for grown-ups; jumbo squares look more modern, less schoolgirl, while even candyﬂoss checks avoid naivety when cast across spring’s slickest shapes.” SARAH HARRIS, FASHION FEATURES DIRECTOR

JIL SANDER

CALVIN KLEIN

Womanly A surprise twist on the summer two-piece, the pairing of elegant skirt and bra top gives ladylike dressing a deliciously subversive spin

The

GIAMBATTISTA VALLI

MICHAEL KORS

Exposed midriffs have been ﬂexed for several seasons now, and spring/summer sees the trend explode. The absolute rule: matching top and bottom halves takes the look beyond mere lingerie. Bra suits, anyone?

DOLCE & GABBANA

EXPOS

PREEN

JIL SANDER

BALENCIAGA

Crisply cut in sharp, clean lines, the tailored crop top has a cool modernity that praises form and function over femininity

CARVEN

MICHAEL KORS

TAILORED

KENZO

AQUILANO RIMONDI

DIANE VON FURSTENBERG

D SQUARED

ALEXANDER MCQUEEN

FRANCESCA BURNS, FASHION EDITOR

PORTS 1961

ISABEL MARANT

HOUSE OF HOLLAND

“Elegant for evening or playful with matching shorts for summer days, never has there been a more attractive incentive to hit the gym than this summer’s diverse offering of crop tops.”

trends

TRUE ROMANCE

Mixed

Country-garden arrangements in softly pretty hues conjure an air of virtuous romance. Add ultra-feminine shapes and the air of girlish charm is complete

BOUQUET

DRIES VAN NOTEN

ALBERTA FERRETTI

PETER PILOTTO

MARNI

DOLCE & GABBANA

HERMES

DRIES VAN NOTEN

GIAMBATTISTA VALLI

ALBERTA FERRETTI

NINA RICCI

An explosion of ﬂorals burst forth from the catwalks, as green-ﬁngered designers cultivated a ﬂower-strewn spring/summer. From appliquéd blossoms to illustrated blooms, take a walk in fashion’s Garden of Eden...

Midnight garden

JONATHAN SAUNDERS

ETRO

MARNI

Florals discover a heart of darkness when scattered across a sombre black background. Here the sugary romance of pastel hues is abandoned and lush blooms take on a sensual, hothouse glamour

OSCAR DE LA RENTA

ERMANNO SCERVINO

MICHAEL KORS

GIORGIO ARMANI

OSCAR DE LA RENTA

EMPORIO ARMANI

3D detail

ROKSANDA ILINCIC

DOLCE & GABBANA

MARY KATRANTZOU

GIAMBATTISTA VALLI

ERDEM

MATTHEW WILLIAMSON

Appliquéd ﬂorals are this season’s loveliest detail. Note the pure, unfussy silhouettes that let this beautiful embellishment claim its moment in the sun

“This season’s ﬂorals encompass the whole range from pastel pretty to techno sport and make an irresistible motif for spring.” ALEXANDRA SHULMAN, EDITOR

CHRISTOPHER KANE

PRABAL GURUNG

MULBERRY

ARTIST’S IMPRESSION Be it Christopher Kane’s science-book stems or Jonathan Saunders’s hand-drawn poppies, illustrated blooms bring a cool modernity to the (occasionally old-fashioned) field of florals

trends

Razzle

DAZZLE

TOPSHOP UNIQUE

MARC JACOBS

ERMANNO SCERVINO

MARNI

MIU MIU

MARNI

Embellishment still holds us in its thrall, enriching our wardrobes both day and night. Running the gamut from barely-there glimmer to sumptuous sparkle, the collections offered up a rich feast for the eyes

NO 21 BALENCIAGA

MICHAEL VAN DER HAM

NINA RICCI

MARC JACOBS

DOLLY JONES, EDITOR, VOGUE.CO.UK

EMILIO PUCCI

SIMONE ROCHA

ALTUZARRA

“Even casual, sporty pieces carry some embellishment now, giving a whole new slant on day-to-night dressing.”

trends

WORD up

JEREMY SCOTT

DKNY

MOSCHINO

PAUL & JOE

DIOR

SISTER BY SIBLING

ASHISH

In a season bursting with street ﬂavour and sportswear styling, it comes as no surprise to see logo tees and shouty slogans hitting the mainstream. Word to the wise: leave head-to-toe lettering to billboards and body art; a single, subtle messsage whispers good taste now

DIOR

KENZO CHRISTOPHER KANE

CALGARY AVANSINO, CONTRIBUTING EDITOR

ALEXANDER WANG

MISSONI

“Wear your thoughts on your sleeve: not since the logo-laden Eighties have we seen so much typography. ”

ROUND-THE-CLOCK COOL: MOISTURE VAPOUR IS CHANNELLED AWAY FROM THE BODY BY MERINO WOOL, HELPING YOU MOVE FROM A TO B IN COMFORT. LAYER IT UP, LADIES… Coat and trousers, both Roland Mouret. Dress, Pringle of Scotland. Sweater, Jonathan Saunders. Hair: Cyril Laloue. Make-up: Mel Arter. Nails: Pebbles Aikens. Set designer: Hana Al-Sayed. Fashion editor: Jason Hughes. Models: Querelle Jansen and Louis Steyaert

VOGUE PROMOTION

SHOES, THROUGHOUT, DORA TEYMUR

KEEP your cool Light as a feather and soft to the touch, there’s only one way to feel fresh during the summer months – with Cool Wool. Photographs by Mel Bles

MAKE THE TRANSITION FROM OFFICE TO OUTDOORS, CAR TO CLUB WITH EASE – COOL WOOL KEEPS YOUR PERSONAL THERMOSTAT CONSTANT, SO YOU DON’T HAVE TO SWEAT IT Sweater and trousers, both JW Anderson. Coat, Roland Mouret

MEL BLES

VOGUE PROMOTION

WITH COOL WOOL THERE’S NO COMPROMISE: ITS NATURAL ELASTICITY AND ABSORBENT COMPOSITION CREATES CREASEFREE AND COLOURFRIENDLY FABRICS. PERFECT FOR SUMMER EVENINGS Louis wears sweater, Jonathan Saunders. Trousers, Jil Sander. Querelle wears cardigan and sweater, both Jonathan Saunders. Trousers, Roland Mouret

VOGUE PROMOTION

MORE THAN MEETS THE EYE: FASHION DESIGNERS HAVE LONG BEEN IN THE LOOP REGARDING COOL WOOL’S POTENTIAL – FOLLOW THEIR LEAD THIS SEASON AND ACQUIRE A TROPHY PIECE This page: coat and trousers, both Roksanda Ilincic. Sweater, Jonathan Saunders

INTENSE, CLASHING HUES ARE ALL THE MORE INVITING WHEN YOU CAN BE CONFIDENT OF YEAR-ROUND COMFORT Opposite: cardigan and sweater, both Richard Nicoll. Trousers, Roland Mouret

MEL BLES

VOGUE PROMOTION TEXTURE INJECTS DEPTH INTO SUMMER ENSEMBLES. ADD COOL WOOL MERINO PIECES TO YOUR PORTFOLIO TO WORK IT IN A WAY THAT WON’T GET YOU HOT UNDER THE COLLAR Jersey-knit jacket, Burberry Prorsum. Cardigan, Jil Sander. Sweater, Jonathan Saunders. Trousers, Richard James

MEL BLES

WRAP IT, BELT IT, DRAPE IT, WEAR IT: FAVOURITE STAPLES HAVE YEAR-ROUND APPEAL. TAKE YOUR SIGNATURE PIECES THROUGH THE SEASONS Jacket, skirt and trousers, all Vivienne Westwood

MEL BLES

VOGUE PROMOTION

PROGRESSIVELY SPEAKING: FASHIONFORWARD SHAPES COMBINED WITH CONTEMPORARY TEXTILE INNOVATION MAKE FOR SAVVY INVESTMENTS Opposite: playsuit, Alexander Wang

SATURATED MERINO HUES SPELL CONFIDENCE: WHAT BETTER WAY TO SHOW YOU MEAN BUSINESS THAN TO BORROW A COOL WOOL SUIT FROM THE BOYS? PRECISION-CUT, OF COURSE This page: man’s suit, Richard James. Cardigan, Pringle of Scotland

DAKS

CELINE

accessories

All about

JEREMY SCOTT RALPH LAUREN COLLECTION

MIU MIU

MAX MARA

CELINE DOLCE & GABBANA

CHRISTOPHER KANE FENDI ROKSANDA ILINCIC

Statement waist-cinchers gain trophy status this season, with championship boxing belts, linked Roman coins and heavy-duty chains holding stylish middles in their grip.

RALPH LAUREN COLLECTION

DOLCE & GABBANA

WIDE LOAD

ROKSANDA ILINCIC

PRADA MIU MIU

While the main collections took a relaxed approach to dressing, spring/summer’s ﬁnishing touches have an attention-grabbing glamour that just can’t be kept quiet. Make some noise for the new season... EMILIO PUCCI

BALMAIN

ACCESSORIES

LOOP THE LOOP Plump and pristine, ﬂoppy and ﬂattened or crisp and surgically severe – bows in every style, shape and size decorated catwalk heads this season, adding a whimsical ﬁnishing touch to spring/summer dressing.

Vibrant technicolour tones brought the main collections bursting brilliantly to life, so it’s no surprise that accessories follow suit, with ﬁre-engine-red, canary-yellow and electric-blue elements highlighting summer’s playful mood.

MARC JACOBS

HAIZEN WANG

MEADHAM KIRCHHOFF

BALENCIAGA

ROKSANDA ILINCIC

Primary school

CELINE

BOTTEGA VENETA

CELINE

BALMAIN

ROBERTO CAVALLI

MISSONI

CHANEL

stacked and supersized. Take your pick from crushed-resin cuffs, architectural brass bracelets and Cubist-style Perspex bangles and pile up for maximum impact.

DKNY

MARC JACOBS

CHANEL

CHRISTOPHER RAEBURN

MONCLER GAMME ROUGE

Be ﬁrst off the starting blocks to summer’s athletic trend. Chunky trainer soles and hi-tech fabrics send summer’s sporty footwear racing to the top of our new-season wish list.

SUNO

Sports day

MIU MIU

BALENCIAGA

TOMMY HILFIGER

DKNY

MARNI

EMMA ELWICK-BATES, STYLE EDITOR

MARNI

SONIA RYKIEL

MOSCHINO

Back to back TOMMY HILFIGER

MISSONI

CELINE

“The strong arm of the season? A forearm A CATWALK TO ARMS decorated with a bold, geometric stack.” CALL Chunky bangles and cuffs come multi-

Fashion continues to favour the deluxe backpack. Classic, roomy and practical – what’s not to love? Look for logos, bold colour blocks and chain detailing as this season’s freshest styling updates. 43

ANTONIO BERARDI

RODARTE

SAINT LAURENT

BARBARA CASASOLA

ANTONIO BERARDI

FENDI

CHRISTOPHER KANE

ROKSANDA ILINCIC

ALEXANDER MCQUEEN

CELINE

ONE GIANT LEAP FOR MANKIND Shimmering holographics, gravity-defying heels and all manner of technical touches elevate spring/summer’s heels to stellar status. Time to practise your moonwalk...

“Curious heels, hologram leathers; whatever else you wear, a pair of these will speed you into the new season.”

CHLOE

Hold me close...

STELLA MCCARTNEY

Continuing last season’s passion for grab-and-go bags, summer’s slouchy totes come reworked in luxe skins, pretty ﬂorals and graphic prints. CALVIN KLEIN COLLECTION

BALENCIAGA

ROKSANDA ILINCIC

MICHAEL KORS

PAUL & JOE

STELLA MCCARTNEY

DAKS

BALENCIAGA

CHLOE

EMILY SHEFFIELD, DEPUTY EDITOR

CHLOE

RYAN LO

Inspired by this season’s tribal trend, woven textures (think crocheted raffia and lattice leather) add an artisanal twist to otherwise simple accessories.

CHLOE

TSUMORI CHISATO

NATURAL SELECTION

LANVIN

JW ANDERSON

CELINE

LANVIN

Trash and grab Taking out the bin bag is usually a far from glamorous task, but when your sack comes stylishly reimagined in luscious lamé, glistening black hide or pure white pleated leather, it’s suddenly an altogether more exciting proposition. Don’t let the bin man get his mitts on these beauties....

VOGUE PROMOTION

Making

ITS MARK

Discreet yet commanding, few emblems in the world enjoy the esteemed reputation of the Woolmark

Jacket, Martin Grant. Sweater, Jonathan Saunders. Dress, JJS Lee

THE WOOLMARK SYMBOL IS A REGISTERED TRADEMARK OF THE WOOLMARK COMPANY. IN THE UK, EIRE, HONG KONG AND INDIA, THE WOOLMARK SYMBOL IS A CERTIFICATION TRADEMARK

TOO COOL FOR SCHOOL

Unrivalled in its ability to transcend the seasons, Cool Wool performs to perfection regardless of the temperature. The way that the Merino ﬁbres channel moisture away from the body creates an insulating effect, protecting the skin from external extremes and providing the utmost comfort – a personal airconditioning system that will take you from spring through to winter. Compared with cotton and other man-made fabrics, Cool Wool has consistently proven superior in the laboratory at absorbing moisture vapour, accounting for the gossamer lightness and luxurious softness that has to be tested yourself to believe. And there’s no shortage. Since wool is a ﬁbre that is grown, not man-made, it’s a renewable resource. Every sheep produces a new ﬂeece each year, living happily on grass, water, fresh air and sunshine. A happy situation all round, we think you’ll agree.

MEL BLES

igns and symbols inundate our everyday lives, so it takes something special to stand out from the crowd. The Woolmark is a case in point. Since its inception in 1964, the Woolmark has appeared on more than 5 billion products, from the high street to haute couture. Much more than just a logo, it is an internationally recognised hallmark of quality – a guarantee that any fabric that carries it has been made with an entirely natural, renewable and biodegradable resource, Merino wool. Its consistent high performance, versatility and natural elasticity unsurprisingly makes it a fashionindustry favourite too, with many a designer – from Jonathan Saunders to Richard James – discovering its generous rewards once they’ve got it on the cutting table. The absorbent nature of the fibres guarantees an intensity of colour that eludes

other knitwear, while its ability to be draped and hung, sculpted and pinned in line with the designer’s vision makes it an essential element of modern ready-to-wear and bespoke pieces. For the wearer, the benefits are endless. Stain-resistant and naturally crease-free, Merino makes for a travel essential – from the international fashion shows to weekends away, we all need something that we can simply slip on and be ready. With such artisanal heritage and impeccable credentials, no wonder Woolmark is in a league of its own. In 50 years it has established a reputation worth revelling in. Q Visit Merino.com

beauty Bronzer goes boho

DOLCE & GABBANA

Look to Dolce & Gabbana and Topshop Unique for a bohemian approach to bronzing. Less about contouring, and more about creating the impression of a summer spent in sunny climes, blend bronze into temples, apples of cheeks, forehead and chin for an all-over sun-kissed effect. MICHAEL KORS GLAM BRONZE POWDER IN BEAM, £32

Even if art wasn’t your subject at school, it’s not too late to unleash your inner creative. Seek inspiration from make-up supremo Peter Philips’s eye painting at Chanel’s street-artinfluenced show. The best bit? No precision is needed, just a feel for colour and a free spirit.

REVLON COLORBURST CRAYON BALM STAIN IN CHERISH, £8

New-season

CHANEL

GRAFFITI EYES

KNOW-HOW CHALK IT UP

If eyes are blue this season, then lips are chalky and pink, as seen at Fendi and Prabal Gurung. A refreshing colour choice for spring, keep the texture matt and the shape full, with just a sweep of mascara as an accompaniment.

DONNA KARAN

Inspired by what the catwalks have to offer? Now go backstage for the 10 deﬁnitive hair and make-up trends, and refresh your beauty look in tandem

PRABAL GURUNG

CHANEL ROUGE ALLURE LIPSTICK IN MELODIEUSE, £25

Bring back the barrette Sometimes simple is best. Backstage at Donna Karan, Eugene Souleiman pulled hair up and off the face, securing it with a large gold barrette. Look how it subtly “lifts” the eyes and opens up the face.

MARC JACOBS

FENDI

CHANEL

Slip on a whole new persona by adding a wig to your beauty repertoire, as seen at Chanel, Fendi, Marc Jacobs and L’Wren Scott. Heroed backstage by Guido Palau and Sam McKnight, the hairstylists were united in their approach: short, blunt and Eighties-inspired.

TOPSHOP BEAUTY EYE GLEAM IN BRONZED, £9

DIOR

Wig out

MAC COSMETICS DIVINE NIGHT MINERALIZE EYESHADOW, £19

BALMAIN

NAKED AMBITIONS “Raw beauty” was universally the most talkedabout reference backstage at the shows. The key lies in invisibly enhancing lips and lids with warm nude shades, executed perfectly at Isabel Marant and Balmain, before seamlessly buffing and blending the colours into one another. CLINIQUE LIMITED EDITION ALL ABOUT SHADOW PALETTE IN NEUTRAL TERRITORY, £32

BURBERRY LIP MIST IN TRENCH KISS, £22.50

The gold standard Trust make-up artist Pat McGrath to come up with an idea that is both unique and inspirational. Case in point: the exquisite gold-painted brows at Dior. If replicating this look feels a little too extreme, try bolts of bronze liner along the socket or lash line for a futuristic take on summer beauty.

IRONS AGE

LAURA MERCIER BAKED EYE QUADS IN ST TROPEZ, £33

CHLOE

COMB-OVER COMEBACK

Turn down the volume because, for summer, hair is in a strictly straight mood, meaning that irons were being used in lieu of tongs. Keep hair straight, sleek and slightly rounded at the ends, using the catwalk hair at Chloé as your reference.

It’s official – the comb-over is back. The look is sporty, boyish and full of volume. Wash hair until it’s squeaky clean, then sweep into a low side parting, as seen at Pucci, using mousse to fix the style in place.

KERASTASE RESISTANCE BAIN VOLUMIFIQUE, £16.50

EMILIO PUCCI

REDKEN HAIR CLEANSING CREAM, £12

MAYBELLINE NEW YORK MASTER KAJAL KOHL LINER IN LAPIS BLUE, £6

Yes, really. Marc By Marc Jacobs, Anna Sui, Prada and Badgley Mischka all looked to the cooler end of the colour spectrum to bring a splash of colour to the face. Ease in with a light sapphire veil across the lids or a slick of indigo liner along the water line, or go all out with a block of highly pigmented cobalt.

MARC BY MARC JACOBS

Blue is the colour

Hermès

DIOR

Glossy palms decorated more than Christophe Lemaire’s designs this season; they sprouted from his makeshift runway at Paris’s Orangerie du Jardin du Luxembourg, too

Raf Simons planted all manner of rainbowcoloured blooms, real and faux, to decorate his show space

Welcome to the

JUNGLE

Setting the spring/summer mood to perfection, this season’s runways were a natural wonder, bursting with lush ﬂowers and foliage. Step into fashion’s garden of budding splendour...

Dolce & Gabbana A trio of almond trees were perfectly in tune with Stefano Gabbana and Domenico Dolce’s blossom-appliquéd day dresses

DOLCE Sporty bombers and parkas, with

“Catwalk ‘gardens’ conjured the dream setting for spring’s multitude of ﬂorals.” JAIME PERLMAN, CREATIVE DIRECTOR

Balenciaga Alexander Wang presented his second collection for Balenciaga in the ivystrewn Observatoire de Paris; proceedings felt spring-fresh 48

MONCLER GAMME ROUGE Draped in vines, Moncler’s catwalk proved the ideal set for the label’s play on urban-jungle styling

VOGUE PROMOTION

COOL WOOL ON THE CATWALK: DIRECTIONAL SEPARATES WILL UPDATE YOUR TRANSITIONAL WARDROBE IN AN INSTANT Sweater and trousers, both JW Anderson

MEL BLES

VOGUE PROMOTION

TEXTURAL INNOVATION MEANS MERINO CAN BE TAILORED TO PERFECTION – PLUS, ITS CREASE-FREE QUALITY WILL KEEP YOU CAREFREE AND FLAWLESS Dress and trousers, Roland Mouret. Cardigan, Pringle of Scotland

MEL BLES