Wednesday, April 23, 2014

I capture the castle


I always get asked the meaning behind the title of this blog, and it really is the simplest story. I read I Capture the Castle at exactly the right time in life - 16 - when you still believed, I mean, really believed in the books you read and the songs you listened to and the movies you watched. This book meant something. It meant something very real. It meant romance and excitement and family and money and, of course, writing. It meant writing. If you haven't read it you should definitely read it, and if you have read it, you know exactly what I mean. I wrote a little Literary Style on it for Undone Journal, because for me it is the ultimate, the always literary style. If you want to read it, head here.

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Tuesday, April 22, 2014

waiting for saturday


This is the lot of the freelancer - our cross to bear: extended downtime, the awkward, frantic dance that is chasing up invoices, the easiness with which you can slip into a routine of only working in the afternoons, only working after cake, never working at all, the difficulty of getting into an 'all business all woman' mindset when you work in your pyjamas from your own kitchen (note to self: find a studio, or at the very least, commandeer a corner of the library), the inability to put into words what it is 'exactly' that you do when people with pitying glances ask you... But I wouldn't trade any of it, any of it at all, for a skirtsuit and cubicle because I'm never waiting for saturday, every day is a public holiday in the sense that every day there is the possibility of forgetting about it all and doing nothing, and my business uniform is jeans and birks. That is indeed my cross to bear.

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Saturday, April 19, 2014

how we dress now

Photos by the one and only Rachel Kara

The particular talent of Dion Lee, the one that makes him exactly the kind of designer that Australia (maybe even the world) has embraced so spectacularly, is that he knows exactly what women want to wear. It's a talent that not every designer has: most designers just know what women want to buy. Dion knows what women want to wear: he knew it when he first started making sexily slashed - yet never distressed - mini dresses, perfectly tailored jackets, crisp shirting with the pleats just so, he knew it when he started line II, with its credo of underwear as outerwear and sports-luxe detailing. And he knows it now. His debut runway show for Line II was a revelation. It was one of the only shows of the week that wasn't beholden to the fads of international fashion. Which isn't to say that the show wasn't trendy: there were midi skirts, and the luxe, languid lines of 90s-style dressing, flat sandals and deconstructed tailoring. But it was done Dion's way. It was done with the deft, light hand that has come to characterise a Dion Lee design: effortlessly cerebral, ingeniously constructed and wholly, almost breathtakingly wearable. His skill and talent as a designer is writ large across every collection: crisp suiting slashed open along the back, pleated midi skirts tucked just so, so that a slash appears, wrap-like, up the leg, the perfectly calculated deep V of a little black dress. And everything to fit so seamlessly into your wardrobe it is as if it has always been there. Everything a nuanced, carefully orchestrated balance between edginess and chic, between confidence and comfort, between masculine and feminine. This is his particular talent, the ability to understand what women want to wear, and to make clothes that speak to how we dress now.

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Wednesday, April 16, 2014

lean closer

"I offended a perfumer in Paris by describing Coco Mademoiselle. What I said was that Chanel had clearly decided to create a perfume that American teenage girls would immediately want. His eyebrows arched; "Well, it's a bit more than that," he said. Yes, I agree. It was an entirely forehand compliment: As with Ralph by Ralph Lauren, which was obviously created for the same purpose, Coco Mademoiselle is both an entry level Chanel fragrance and a very smart marketing decision, and there's nothing wrong with either, at all. God knows Nos 19 and 22 can be tough to appreciate immediately. If you like nice scents, you like this perfume, instantly. Period, end of discussion. It is lovely, flowery, a fresh-faced seventeen-year-old in a summer dress, of excellent quality so the fragrance lasts, and, behind the seeming sweet simplicity, something much more compelling than might at first appear. That something is simply that when you come across someone wearing it, you want to lean closer to them."

Chandler Burr, 'Bold Type Essay'

Lara Stone in T Magazine

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Tuesday, April 15, 2014

essentials

tommy ton for style.com

The only shoes a gal needs. Sneaks, some nice ballet flats, and the funkiest sandals ever.

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Monday, April 14, 2014

the week that was

Rachel Kara - Christopher Esber

I like working in a team with Rachel. She said it right - life colleague. She makes my work better simply because of her presence: it's calming, reassuring and wholly supportive. Last week was no different. Somehow we managed to wade our way through whatever fashion week really is, working really hard, to create something we are really proud of over on Broadsheet. It wasn't easy, but if it was meant to be easy would it be called work? The best thing about last week was having someone to laugh with when it all got too much and the deliriousness kicked in. Someone who oohed and aahhed with me at all the same moments: the sexy, leggy strut at Alex Perry, the morning light simply pouring in at Haryono Setiadi, the ice cream-smeared smiles at We Are Handsome, the Miley Cyrus soundtracks at everything, the glittery gorgeousness at Karla Spetic, the sudden, rogueish appearance of Gerard Butler at Ellery... What are these moments for if not to be shared? Here's another one then, one of our favourites. Georgia - the girl with the longest legs and the best hair - in the kind of dress only Christopher Esber can not only make work, but make look as if it already belongs in your wardrobe. 

If you want to read our coverage, here are some links to Broadsheet:


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Congratulations!


One of my favourite moments of fashion week at Alice McCall... I just love a good falling particle! This moment was extra sweet because I had worked on the show as well, and seeing everything come together was absolutely magical. Lol confetti. And speaking of magical, here are the winners of the Maloles giveaway! Congratulations to Charlotte, Raquel, Cara and K. Thank you everyone who entered, I am so touched that you all love the shoes as much as I do. (even now, still pinching myself).

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Sunday, April 13, 2014

paris, always


Can't stop thinking about Paris. I know what I need to do: stop thinking and start doing. But doing is scary, and I am scared. But I just can't stop thinking. I read another interview on Freunde von Freunden about an Australian stylist living in Paris, and the thinking started up again. 'I loved the language and always dreamed of returning and establishing myself here.' Sound familiar?

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Friday, April 11, 2014

that 70s show

Susan Ford washes her car, 1975

Strangely feeling a 70s vibe at the moment. It's just a jeans and tee shirt kind of thang.

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Monday, April 7, 2014

writing


I did an interview a little while back with Felwa, and it has gone live, and re-reading it now has made me think about a few things. I've been working pretty hard for the past month, a proper, real job, with not much time to spend here, or really anywhere, to clear my head. I'm about to emerge on the other side and I'm not quite sure how I'm going to feel. Will I miss the structure of my days, the lunches I packed, the hours spent at the desk? Maybe. There's one thing I do know, though. I missed this. I missed writing, and I missed it a lot. I wish I had more of a plan, less nonsense, but I just don't at the moment. I just know that the thing that makes me sane, not even to start on happiness, is writing. I need to do more of it, and not be so scared, and not be so lazy. And follow some of my own advice.

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