"The most beautiful makeup for a woman is passion, but cosmetics are easier to buy."
—Yves Saint Laurent
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Backtrack: Perfume Notes: Knize Ten, Lookbook: Kind of Blue, Consumer Diaries: December 2009, Perfume Notes: Habit Rouge, Beauty Primer: Bronzing and Whitening, Beauty Notes: Shanghai Express, The Mnemonic Sense: Changeover, Perfume Notes: Coromandel or Timbuktu?
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BEST USE OF LACE
3.1 Phillip Lim wins this category hands down. Lace has been an occasional trend in fashion recently, spurred by Prada's Fall 2008/2009 all-lace show, and Phillip Lim shows a very approachable, wearable version of it here. Devoid of the more stuffy, starched, high fashion elements of late, this lacework is girly, youthful, and exceedingly pretty. As with the majority of Lim's work, these are pieces that can easily, almost intuitively, be incorporated into the rest of your wardrobe, adding that punch you lacked before without disrupting the flow of your ensemble.
BEST SKIRTS
Again, 3.1 Phillip Lim knocked it out of the park. Between his beautiful lacework and the fluidity in his tulip skirts, Lim has almost made a skirt believer out of me. His tulip skirts were what really sold me on his collection. Beautifully draped out of light, soft fabrics, these skirts provide an approachable, American form of elegance that will neither alienate nor intimidate those around you (or, for that matter, the wearer herself). In addition to tulip skirts, Lim featured both lace and cotton straight-cut skirts that lend instant youthfulness and cool, all of which were wearable and provided just enough fashion to keep things interesting.
BEST FOUNDATIONAL DRESS
Surprise, surprise - 3.1 Phillip Lim again (up until I saw Lanvin's collection, Phillip Lim was my pick for best collection). Foundational pieces are really the hardest to find, at least for me. They need enough interest in and of themselves that they can stand on their own (the draped waist, three-quarter sleeves), yet be quiet enough to blend into the background (neutral color, simple design). This dress achieves that rare task of being both neutral and interesting, maintaining the idea of the shift dress without drifting into a sartorial snooze. An additional plus - how often do you find a dress that looks dressed up, even complete, with the simple addition of a workaday brown belt?
BEST CUT DRESS
I cannot see how this dress would fail to flatter most figures. From the Yves Saint Laurent collection, this dress features enough flare at the bottom, width at the top, and definition at the waist to even out and flatter most figures (a feat that used to be what dresses were all about). In addition to beautiful figure flattery, the dress hits at just the right point, hovering around the knee. Between where this dress hits on the body and how it skims over it, this is an ideal cut for a dress.
BEST DRESS OVERALL
I absolutely love this dress. Also from YSL, this dress has the most beautiful racerback cut to flatter the shoulders. I also love the pattern, which came as a surprise to me. I'm not generally big on anything that hints at animal print, but the reddish tone to these browns, as well as the vertical print, got me. Overall, this dress achieves something the two before it cannot. While both of the previous dresses, and all the previous looks, have interesting details, this is the only look that actively draws your focus, but it still avoids ostentation and an obnoxious monopoly on your attention. It is the neutral for those who do not wear neutrals.
Labels: 3.1 philip lim, fashion notes, proenza schouler, ysl
2/09/2010 [0]
A few months ago, I was watching Sophie Marceau in Firelight, and it struck me that her features, oddly enough, approximated the Asian. Obviously, Marceau couldn't be more French. But the similitude is there, is it not? Especially when she's in profile*. Ethnically bound makeup is a tricky subject to broach. It's impossible to be comprehensive, given the constraints of experience—what do I know about the best colors for black women? it'd be a guess, no more—thus why I've not extended the Lookbook further. But a few tricks about Asian makeup, I can readily share.
The salient characteristics are well known. The hair is dark brown-black to blue-black, stereotypically straight and sleek, though more wiry textures are not infrequent. The complexion is notoriously yellow in hue, exceptionally smooth at its best, often mixed with brown (melanin) and olive, and to much lesser degrees peachy and ruddy, undertones. Though the choice of foundation should be warm, that does not signify much in terms of product choice. Darker Asians boast a rich caramel skin, overlapping with Hispanic and lighter black women in the shades most flattering to them (but not Indian, who have stronger ruddier tones). There's a soft golden warmth to medium-skinned Asians, whose natural predilection for shades equally warm, like clove and apricot and olive, have given rise to the widespread myth that Asians are unilaterally warm. As a matter of fact, as the complexion lightens, most Asian women find that their best colors shift towards neutral, until, on the truly pale, whose skin tone takes on a near colorless translucence (quite different from Caucasian pallor), we find ourselves mired in determinedly cool pigments.
Then, there are the eyes, which provide a fountainhead of neuroses—those tiny slits! those short, sparse, stick-straight lashes! ah, only brown! no crease!—when Asian women flaunt muted pride at their double lids (i.e. epicanthic folds) what snide chuckles must be suppressed. And, just to complicate matters further, there are indeed Asian women with large eyes and deep sockets.
But more than anything else, the approach to Asian makeup is determined largely by one factor: the flatness of the features.
Du Juan for Vogue China, February 2010 (love that new haircut)
When compared to the image of Sophie Marceau above, you notice that, in spite of the different in ethnicity and coloring, it is the flatness that draws the two in common. For an Asian woman, Du Juan has sharper cheekbones, nose, and jawline, but the rounded softness of her face, its angles quite muted, are characteristically Asian. Therefore, unlike the chiaroscuro bent of Western makeup, of contouring and blending, Asian makeup is all about defining outlines, first and foremost, before one may move on to filling in with color; or, as Anne suggests, the aesthetics of anime are not too far removed.
Here, the makeup is assiduously natural, so the outlines are quite understated. But mark the flawless skin for a canvas, and the casually groomed eyebrows—critical points of the face for all, but more so for an Asian face—and the incredibly clean eyeliner. Though her eyes do not suffer from an overdose of mascara and liquid liner, as I see on many, this careful definition lends her face impact. Even her lips, though such a modest mauve, have crisp lines, especially that downturned curve to her pout. This is not a look that hinges on the depth created by contouring, in fact she's barely wearing color at all, save that delicious, unexpected yellow, but outlines carefully rendered.
the late Daul Kim for Vogue Korea, December 2009
On the surface, this dramatic look represents an enormity of difference from the natural makeup of the previous image (both gathered from Asian Models Blog). And yet, the underlying principle does not alter; the outlines simply grow ever more exaggerated. Though the choice in colors, especially that exotic bronze lipstick, is bold and striking, these are not techniques that create depth, but simply, intensity. Personally, I live in eyeliner, from the humble tightliner (Shu Uemura Painting Liner + Laura Mercier Flat Eye Liner Brush) to the most vibrant pigments, dusted in a thickly smoked-out line over a MAC Eye Kohl. Other than light, rather sheer washes, eyeshadow for me is largely extended eyeliner, though some dimensionality can be created via a wet, sparkly highlight on the inner corner and a wedge of soft smoke on the outer corner.
Admittedly, this much black is difficult to pull off on most Asian lids, which can look hooded in too much eye makeup. Restrict your pigment to one third of your lid, and you will be safe—below a third, it still belongs to the jurisdiction of the outline.
* This is of course why I chose this picture, but how sexy are nipples through a sheer white cotton camisole? Remind me to get one of those for spring.
Labels: beauty notes, daul kim, du juan, sophie marceau
2/06/2010 [1]
It was easy to pick the best show from the resort collections. There were many great clothes shown in the collections - easy to wear, ready to transition from the store to your own wardrobe - but there was only one presentation that really breathed life, though, and that was Lanvin. Between the humor (which is rapidly evaporating from the world), the movement and youthfulness of the clothes, and the liveliness of the presentation itself (featuring a backdrop of fashion-obsessed spectators), both the presentation and the clothing had vitality, wit, and a sense of festivity that made me want to join that world. Besides being the most joyful presentation, the clothing revealed a side to Alber Elbaz's talent that I really appreciate. Despite his ability to cut beautiful clothing, there is something about Elbaz's work that has always struck me as being old. Maybe it's the 40s references or his insistent presentation of ladylike silhouettes - regardless, I've never quite jived with it. Here, though, all thoughts of old ladies and past decades were done away with as Elbaz presented brilliant shots of color, youthful cuts, and the most beautifully flowing clothes seen in all the resort collections. Here are a few of his show's key points.
TRENCHCOATS
In this collection, Elbaz adopted the current fervor for jackets by widely useing trenchcoats to formalize the youthfulness of the clothes, as well as to provide that finishing polish to the more sophisticated outfits, as seen here. Without the trench, this would be a nice dress, but the overall look would be a bit undone. Add the trench and suddenly the outfit seems finished, though no small part of that finished effect is derived from the beautiful cut and fabric of the trench.
In an unrelated sidenote, what initially piqued my interest in this collection were the Cuban heels, in particular, and the footwear at large. True, some of this footwear is dowdy, but all of it is wearable. None of it will elevate you into a human crane, nor does any of it require a whole new wardrobe just to match the shoes. I dearly, dearly hope this is a trend designers keep up, because it is nearly impossible to find good shoes these days.
VOLUME
Volume is a central theme for Elbaz, who has previously shown parachute dresses, puffy sleeves, and the ridiculously high heels aforementioned. In this collection, volume takes on a more youthful, festive feel in the form of circle skirts. There is a far more casual feel to the volume in these skirts than in previous collections, making them appropriate and wearable for day. It is almost as if the stuffy formality of previous formality has literally been ripped away from these skirts, leaving only a kind of casual looseness and informality perfect for wasting away the days aimlessly on vacation.
YOUTH
This is easily the most youthful presentation I've ever seen from Lanvin. Between the jolts of color, the styling, and the clothes themselves (jumpsuits, harem pants, hi-tops), this collection very easily and successfully combined the fluidity and luxury of Lanvin's cuts and fabrics with the playfulness and experimentation of youth. It's easy to see how the models were so able to get into character - these clothes are fun. What's more, they are so elegant in design that they may be both dressed up and played down, proving truly versatile and functional. Both the top and the trousers of this outfit are of a highly sophisticated cut and fabric, and either may be used in conjuction with more neutral foundational pieces to provide a punch of color and liveliness to the standard wardrobe. To my mind, though, this outfit is right as it is. I couldn't wear it, lime green and harem pants not being my most flattering looks, but I appreciate the playfulness of the color and the willingness to dress down multi-thousand dollar Lanvin with hi-tops (if there's anything I love, it's the unexpected).
COLOR
I cannot say it enough - this is the most colorful Lanvin presentation I've ever seen. Elbaz has used color before, but this intense saturation of neons, acid hues, and primary colors is something new. It can be particularly difficult to make a very bright, tonal look like this look sophisticated, but Elbaz achieved this through luxurious fabrics and a mature approach. Though bright, the trenchcoat keeps the outfit elegant and adult, leaving all eccentric touches to the accessories rather than the clothes themselves.
EVENING
Lanvin easily presented resort's most beautiful evening clothes. Full-length, fluid, and highly romantic, these are evening clothes that seem light enough, both in weight and mood, to carry into the day. These are beautiful, beautiful dresses, the best part of them being that they highlight the wearer than themselves. Though not usually a fan of prints for evening, I particularly like this dress. The print is muted enough that it maintains dignity, and it hasn't been so widely advertised as to immediately date itself. This is a dress that you could easily pull out of your closet for years to come.
Labels: fashion notes, lanvin
2/04/2010 [2]
Always, there are ideas and plans for the next acquisition—a shopping list, according to the season. Inspired by Jane Aldridge of Sea of Shoes, I've got in mind a bold, expressive belt (though perhaps, as a novice to belts, in a somewhat tamer idiom) over a full-full-full skirt (a silhouette that flatters my figure better than nothing else) in a pale shell pink. Though not an accessory I've explored, I suspect that the relationship between belt and skirt is much like that between pant and shoe: if they complement each other, then the outfit will come together effortlessly. So I've got my eye out for a belt, preferably something a little rough to break up the conservatism of a 50s skirt: I love the slight creepiness (but impeccable details) of this Alexander McQueen piece, but even at a discount...
But sometimes, the best additions to your wardrobe are impulse buys, ones that leap out at you unexpectedly when browsing casually...
Sad. I just had this jacket stolen the other night.
Labels: alexander mcqueen, fashion notes, sea of shoes
2/03/2010 [1]
eau fraîche Cartier Déclaration
However deceptively simple in its appeal, Déclaration is rather more salubrious than Ellena's latterday cerebalism. Its translucent layers of tart citrus, candied woods, and bitter herbs shimmer like hologram over the wearer's skin.
fresh flowers Parfum d'Empire Eau Suave
In spite of Coco Chanel's quip that women should not smell of flowers (surely in view of her own bestseller), nothing could be more difficult to capture than the pure, vegetative ecstasy of a meticulously cultivated rose garden. Eau Suave smells of fresh roses, but goes well beyond dilute extract, picking up on cool breezes, birdsong, and afternoon sunshine.
crisp and verdant Guerlain Vetiver Pour Elle
Some days—in summer's oppressive heat, the ugly backend of winter, modern life in the metropolis scrounging for your bread—are just not kind. Like a dose of sanity, a good vetiver, and Guerlain's is among the most cordial, throws sunshine on the most profound enervation of the human spirit. Via a gossamer veil of jasmine and honeysuckle petals, Pour Elle is an update on the now attenuated classic.
squeaky clean Chanel No. 5 Eau Première
Never in the history of perfume has a juice descended to us with as much baggage as Eau Première—not so much an update, as a nod to its legendary parent's ubiquitous, if dumbed down, presence in the soaps and shampoos of our daily lives, now at last, perfected with a Gallic sneer.
optimistic leather Balmain Jolie Madame
Once the cheerier little sister of Bandit, a fruity violet on a tarry leather background, the reformulation is a leafy violet pastille, the leather lightened to blond.
luscious gourmand Anne Pliska
As the distinction between cuisine and perfume grows ever hazier, vanilla, the starch of the olfactory world, in its simple, popular appeal, is much abused. From Shalimar to Pink Sugar, the kinship between creamy vanilla and rich amber endures, but Anne Pliska adds a delicate little savors—mandarin, jasmine, patchouli, and geranium—a simple sauce, but just the right degree of enhancement.
tropical blooms Les Nez Manoumalia
Some aromatics are inextricable from their glamour, and heady white florals, whether jasmine or ylang ylang, glow like naked flesh in the night, purring blandishments. Stripped of perfumery's artifices, Manoumalia is a revelation: just the kind of a gorgeous monstrosity to make a man in the jungle feel small.
fiery spices Caron Poivre
Who would imagine that the oft snubbed carnation would hide in its humble petals such searing intensity? The first assault of cloves, exaggerated to keeningly sharp heights, settles on a dusty, sweet background of dried and pressed flower petals, with just a lingering tickle of pepper, almost as if to provoke a real sneeze.
parfum fourrure Guerlain Vol de Nuit
Darkness incarnate as smell. A bright initial burst leads into a sequence of herbs, coordinated like players in a concerto, but the black dissonance of galbanum absolute eventually dominates the scent, leaping off the skin to become a multi-dimensional being in its own right.
fertile earth Chanel Coromandel
Before the raw, bitter, medicinal, mineral-rich earth smell of patchouli became the olfactory emblem of the hippie movement, it enjoyed a mania among the well heeled of the 19th century (Madame Bovary, for one). The ornately resinous Coromandel is a return to those gilded origins, when the leaves were still used to preserve precious silks from the east.
strange fruit Guerlain Mitsouko
The best perfume ever. The end.
dying garden Frédéric Malle Une Fleur de Cassie
Though more overtly modeled on the almondine L'Heure Bleue, Une Fleur de Cassie, as a warm, powdery jasmine unfolds on the skin, resembles another classic, No. 5—florals arrested, not at the height of freshness, but overblown and about the drop their petals, with wet autumn leaves crushed beneath feet.
garçonne BVLGARI Black
As if leathers weren't queer enough, Black goes for the full-on perversity of tarry, rubbery pleather, though attenuated to the weightlessness of smoke, with an oddly comforting, silken vanillic core to temper Menardo's tastefully orchestrated dissonance.
technicolor Balmain Vent Vert
Like a Surrealist trick, Vent Vert exploits an image comfortable and familiar—a pristine forest, heavy with verdure—and aggressively oversaturates the green (galbanum) to uncomfortable intensity, just to remind us that no reality exists beyond the canvas, before subsiding into a more mellow, but still crystalline, floral heart.
fougère from space Vero Profumo Kiki
In a sly reworking of the great masculine genre, Kiki is built around lavender, but with the caramellic edges, normally lurking behind the note's established herbaceousness, amplified by the bitter, not-quite-edible synthetic sweetener of maltol.
Labels: anne pliska, balmain, caron, cartier, chanel, guerlain, hit list, lesnez, parfum d'empire, vero profumo
1/31/2010 [2]
blush brush
For such an expense, the NARS Yachiyo ($50) could definitely be softer (try a little conditioner next time you wash it), but the instant, perfectly blended edges it creates, even with the most highly pigmented blush, cannot be denied. The size fits perfectly on the apple of the cheek, and can be tilted to sweep over and under cheekbones.
point concealer
The fine point of the Kevyn Aucoin Concealer Brush ($24) places concealer exactly where you want it: on the blemish, not the surrounding skin.
powder sponge
Instead of a brush, we prefer the control of a finely flocked sponge like Shiseido Square Sponge Puff for Compact ($6), to apply loose, translucent powder as a finishing touch.
tweezers
A high-maintenance girl's existence—which includes groomed, well shaped brows—would just not be the same without Tweezerman Slant Tweezers ($20).
eyelash curler
It's hard to imagine mascara without Shu Uemura's oft-quoted Eye Lash Curler ($19): the crimp is rounded, and it gets around to most every lash.
liner/brow brush
For a while, we toyed with the idea of advocating multiple liners for multiple purposes, which, given the diversity of the products with which they interact, would in practice be distinct from each other. But if you're just building your brush collection, perhaps the best place to start is MAC's versatile 266 Small Angle Brush ($19.50): stiff enough to fill in brows, yet fine enough for tightlining, as well as regular lining in between. It is especially well suited for gel eyeliners.
detail brush
A great tool, whether concealer brush or tweezers, is set apart from all others by its precision. Soft, tapered, fluffy first-cut natural hair brushes diffuse pigment—application is itself blending—while dense, flat, synthetic brushes yield crisp edges and lines. Get every lash, manipulate every particle of pigment, smooth to the thinnest, most even layer every dollop of foundation, all to dull the sensitivity of the human eye to infinitesimal shifts in the human face. You can't get brushes more precise than Shu Uemura's, and those with small lids will never regret the expense: Shu Uemura Kolinsky 5R ($58).
wash/crease brush
Though a trifle oversized for some eyes, if you've got larger lids and like to do fancy creasework, the Shu Uemura Natural Brush 10DF ($45) can't be beat for sheer versatility: washes, highlight, blending, crease, and even intensifying pigment.
Labels: hit list, kevyn aucoin, mac, nars, shiseido, shu uemura, tweezerman
1/30/2010 [0]
Between the silky, easily blendable finish, the intense pigmentation, and offerings ranging from the perfect neutral highlight to acid greens and blues, NARS Duos ($32) remains the gold standard among powder shadows. Application is intuitive—they nearly blend on their own—and the depth and complexity of the shades ensures a distinctive impact.
cream shadow
Bobbi Brown ($22) offers cream shadows that dry down to a locktight finish. Once these are on, it's imperative to use makeup remover to get them off. Color selection is excellent, ranging from the standard medium browns and taupes to the more esoteric deep blue-black and silver shimmer. Crease-resistant, these shadows can work well on their own or make an excellent base for powder shadows.
pencil
MAC's myriad pencil formulations ($14.50) have deservedly achieved legendary status among makeup artists and amateurs alike for their smooth application, blendability, and broad color spectrum. We can fully attest to the long-lasting vibrancy of MAC's liners, in complex, unique colors that cannot be duplicated in other lines.
gel
The last thing you want to do is scrape away at the delicate skin around the eyes, especially the waterline. Shu Uemura Painting Liner ($24) is so pigmented, especially the matte shades (the metallics are rather less pigmented), a single dab will create a substantive line, and the slightly creamier texture makes it more manipulable before it sets into iron-like wear.
Perhaps Laura Mercier Morning Dew ($22) is rather too utilitarian for the expense, in the pan and on, but sometimes you want to smooth the lid just a little, and add a little brightness to tired eyes, without the sparkle that other highlights deploy to secure the attention of shoppers. The shadow goes on dry, but silky, and wears well all day.
beige, fleshy shimmers
You wouldn't imagine it, looking at NARS All About Eve ($32), how these are perhaps some of the best eyeshadows on the market. One side is a slightly peachy beige satin, a friendly and versatile shade that cooperates with the most cantankerous and overparticular shades. The other is a silvered beige frost, with a complex of shimmers—green, lilac, silver, gold, pink, champagne—that mimics the effect of light itself.
golden pearl
A highly pigmented, opaque, buttery highlighter, MAC Ricepaper ($14.50) brightens up the eyes without calling attention to itself. Its pale hue attracts light to the eyes while the subtle frost finish adds dimension, melting into the skin to add brightness without an overt color or shimmer.
silvered frost
If subtlety is not your favored idiom, and "highlight", to you, signifies sparkle and shine, then silver has a more alien presence on the skin than gold, especially around the inner corner of the eye, for extra dimension to eye looks both simple and complex. Warmed by a taupey undertone, Stila Cloud ($18) is amiable to most complexions.
MAC Omega ($14.50) is a true, neutral taupe, providing just the right amount of definition and contour without overwhelming the lid with color. Omega acts as both the ideal crease shade that lets other colors pop and subtle shadow wash that just brings out the contours of your eye shape.
brocade plum
Though on first glance MAC Trax ($14.50) is a plum flecked with gold sparkle, Trax is really several colors in one: gold, plum, lavender, rose, all over a smoky base. The more Trax is blended, the more complexity is revealed, lending extra dimension to an infinite variety of techniques.
molten amber
An coppery gold, MAC Amber Lights ($14.50) has the ability to pop blue, hazel, and brown eyes as a simple wash or crease, or even a metallic highlight against dark shades. This is the secret behind Amber Lights: as bright as it looks in the pan, its molten metallic finish allows it to melt into warm complexions.
smoky pewter
Silvers are not so kind to human complexions as golds, but there's an olivine undertone that gives Lancôme Erika F rather more flavour, and the smokiness is broken up by such complex shimmers and sparkles that, even on small eyelids, the effect is quite delicate and makes the perfect bridge for smoky eyes.
Stila Golightly ($18) is darkest, richest incarnation of tarnished old gold, without a hint of red, with a fine shimmer that counteracts its smoky, olive-tinged depths.
rich chocolate
MAC Teddy Eye Kohl ($14.50) is not your run-of-the-mill brown, but rather, one with banked depths lit by sunset tones of plum and copper. A simple swatch on the back of the hand will immediately show the difference.
refined navy
One wonders how a matte navy, like Laura Mercier Deep Night ($22), surely a standard offering, could claim so much attention over all others in its lineup. Like most Laura Mercier shades, Deep Night fares rather better on cool complexions, where it pops eyes more naturally than any brown or black liner. As the name implies, it skirts the depths of black, for smoky intensity as liner, with just a graceful infusion of blue to keep it from looking harsh.
inky black
For the most opaque, intense matte black, Shu Uemura M Black Painting Liner ($24) applies without skipping, tugging, or struggle of any kind. The creamy formula is easy to blend. Highly pigmented, very little of it goes a long way.
If bright, ass-kicking color intensity is your thing, look no further than NARS Rated R ($32). The chartreuse has a fine infusion of gold pearl, the blue shimmers in a lighter pool blue. We suggest you acquire it, not for any utilitarian pretense of course, but to remind yourself: this is makeup, the risk will wash off.
royal violet
Purples have a tendency, once applied, to lose vibrancy and pigmentation, diminishing into undertones instead of a presence of their own. Shu Uemura ME Purple Painting Liner ($24) neatly avoids this trap, maintaining its vibrancy through blue and, if sheered enough, light pink undertones. The creamy, easily blendable formulation is versatile both as a light wash or intense pigmentation around the eyes.
spring green
Soft yellow-greens provide an especially gorgeous contrast to brown and blue eyes, but are often too sheer to create the necessary drama. Enter Stila Kalo ($18): a tender apple green shot through with delicate golden shimmer, but creamy, pigmented powder packs a wallop.
summery French blue
Any painter will quickly inform you, that rich azure of a cloudless sky, though seemingly uniform, is one of the most difficult natural phenomena to duplicate through pigment. Shiseido Fresco Luminizing Satin Eye Color ($25) captures that exact sunny blue, in all its dimensional glory, through a complex of silver and gold shimmers.
peacock blue
Though a vivid bright blue, MAC Auto-de-Blu's ($14.50) warm undertones contrast with the eyes, not the skin. The Technakohl formulation ensures smooth application without tugging, for brightness that lasts through the day.
mint steel / smoky eggplant
At first glance, NARS Habanera ($32) seems an unwieldy, mismatched combination—a wintry, industrialist metallic frost with heavy tones of glacial green and blue, and a whisper of smoke, a plummy charcoal swarming with prismatic glitter—yet when worn together on the eyelid, or alone, the effect is ethereal.
candied orchid
We will not deny the appeal of lilacs and lavenders, but we have a difficult time convincing them to show up on the skin, unless it's Shiseido Provence Luminizing Satin Eye Color ($25). This is no sundry pale purple, but warmer than most, and so, not restricted to the cool alone, with a complex of pink, peach, and gold shimmers for extra dazzle.
Labels: bobbi brown, chanel, hit list, lancome, laura mercier, mac, nars, shiseido, shu uemura, stila
1/28/2010 [10]
powder blush
For quality, pigmentation, and sheer variety of colors, blushes from NARS ($25) will serve you well till the bitter end.
cream blush
The Becca Crème Blush ($30) is rightly revered. The shades, though to the browsing eye they resemble every other lineup of blushes, are surprisingly complex—they come alive, rather than lying flat, on the skin. Though pigmented enough to show on dark or high-contrast complexions, a little dab blends effortlessly and seamlessly into the skin. Then, to top it off, it's a cream blush that lasts.
lipstick
Available in Cream, Pearl, Transparent, and Matte formulations, Make Up For Ever ($19) lipsticks are creamy, smooth, highly pigmented, long-wearing—in short, easy. These lipsticks maintain their vibrancy well into wear, which suits the many fashion shades the line offers. The line also offers a very extensive selection of neutrals for all skin tones.
lipliner
Available in both self-sharpening and regular pencil form, MAC's liners ($13-14.50) are creamy, comfortable enough to wear alone, yet long-lasting. Colors range from neutrals for a range of skin-tone-friendly shades to corrective colors for specific lip concerns to fashion colors.
lipgloss
None of us are gloss girls, but we like the way that NARS Lip Gloss ($24) hits a comfortable texture between too slippery and too tacky—just right. In that array of colors, there's something for everyone, from sparkly sheer nudes to sumptuous berries.
NARS Laguna ($30) performs a rare feat for bronzers, offering truly buildable, easily blendable coverage in a believable, natural tone. Free of the red and orange tones found in other brands, Laguna is simply a sheer light brown that can provide light bronzing for the fair or be layered for deeper, more pigmented coverage. Though it features a fine glitter overspray, this is merely for show. There's nothing glittery, shimmery, or overt about Laguna.
highlighter
The genius of Benefit Moon Beam/High Beam ($24), adjustable highlighters that can be mixed with foundation for an allover glow or applied selectively to specific areas, is their ability to concentrate light on the high points of the face, almost to the point of eliminating the need for a separate contour shade. The lighter, pinkish-hued High Beam is more appropriate to light skins; the yellow-based Moon Beam contains red tones ideal for deeper skin.
MAC Tenderling ($18.50), appropriately in a formula named Sheertone, is a virtually goofproof veil of beiged-down pink that subtly flushes and warms up even the palest skin.
vibrant, neutral blush
In the pan, NARS Sin ($25) looks like a scary—even bruised—mauve, attacked by a hoar of gold glitter. However, on the right skintone (especially on olive skin, which swallows up the purple), it morphs into a dusky rose glow. The glitter isn't apparent on application, only lending an extra sheen that seems akin to that of skin itself.
everyday neutral lipcolor
We don't like the term, "universal", but Chanel Attitude #10 Rouge Allure ($30), a soft sunset red, does seem to manage everyone's coloring, though like all one-size-fits-all shades, it does not flatter all to the same degree: on some, it is somewhat ruddy, on others, quite dark, and yet still, a touch too warm. As a compromise, however, it is the best we've found. Plus, you've got to appreciate the clever packaging.
soft neutral lipcolor
The perfect (largely universal) nude, like the perfect red, is difficult to source, but NARS Chelsea Girls ($24), a pigmented, low-shine gloss, has tones of peach and pink to lend substance and depth to so much passive-aggressive drama.
dramatic neutral lipcolor
There are no finer matte reds than Julie Hewett's Noir lipsticks ($22.50), richly pigmented and yet comfortably creamy, and Coco Noir, its intensity tempered by just enough rose, is a red palatable on a startling breadth of complexions.
If the traffic-stopping vermilion brightness of NARS Exhibit A overpowers you, the foolishly named Stila Blush ($18) colour fits the bill: a cheeky coral, sheer yet buildable, with not a hint of beige.
everyday warm lipcolor
Like most shades in the Lipstick Queen line, Berry ($18) is surprisingly flattering to warm complexions. In the sheer Saint formula, it subtly enhances the lips with a clovey, chocolate-raspberry stain that never hints at fuchsia.
soft warm lipcolor
NARS Barbarella ($24) is the softest take on coral, an innocent, peachy nude that's just bright enough not to wash out warm complexions.
dramatic warm lipcolor
In the superbly long-lasting Velvet Matte pencil formula, NARS Forbidden Red ($24) is a rich, deep red, warmed with just enough orange to echo a warm complexion.
NARS Desire ($25), an intense, bright pink—nay, fuschia—perks up cool complexions marvelously, so pigmented that one pan lasts forever.
everyday cool lipcolor
There's nothing like a berry for sophistication. Though a little strong, the balm-like Shiseido Gilded Wine Perfect Rouge ($25) sheers easily, like all deceptively complex shades, never looks flat, wearing a little differently on everyone: on some, it's a deep, purple-toned raspberry, on others, more a burgundy.
soft cool lipcolor
Benefit Posietint ($28), a lightweight, long-wear stain, provides a sheer, natural pink for lips without the purple and red tones common to lip stains. Essentially, it creates the definition and color of outlined, "done" lips without the upkeep. Apply a light layer for a natural light pink. Layer product for a bolder, brighter hot pink.
dramatic cool lipcolor
A deep, gothic berry is no easy feat to pull off; in a drier, pigmented formula, more appropriate for the crisp definition necessary at such intensity, Besamé Noir Red ($15), with complex, well balanced undertones, is just the product to channel your inner vamp.
Labels: becca, benefit, besame, chanel, hit list, julie hewett, lipstick queen, mac, make up for ever, nars, stila
1/26/2010 [1]
undereye concealer
Highly pigmented, Laura Mercier Secret Concealer ($22) offers full coverage for the undereye area. The salmon-based shade offers color correction even for the worst undereye circles in a formulation that's both creamy enough to apply and spread and tacky enough to stay in place. This product acts as an excellent base for your favorite flesh-toned concealer, ensuring long-lasting, even coverage. The effect is your skin without discoloration or darkness.
shine blotter
For setting makeup or shine control without coverage, MAC Blot ($21) is our favourite product. Available in only five shades, it is virtually transparent, providing a fine, matte finish that lasts for hours and never oxidizes nor turns cakey with reapplication.
sheer overall coverage
With so many excellent, naturalistic sheer foundations overwhelming the market, it almost seems arbitrary to select just one, especially one tailored to drier skin types (it should be noted that though not all of us are dry-skinned, none of us are oily). What makes Kanebo Lunasol Skinfusing Powder Foundation ($55) so compelling is its ability to mimic the appearance of real skin, which, contrary to common performance, grows ever more convincing as the day wears on (unless you're prone to serious grease). Unlike a liquid formula, this powder wears more comfortably, as if it's not even there, which, if you consider it, is the virtue of a sheer foundation in the first place.
moderate overall coverage
High-coverage foundations can rarely place any claim to naturalism, but Shu Uemura Face Architect Flawless Cream Foundation ($45), delivers on its ambitious name. Nothing so thorough can be entirely natural, but it photographs beautifully, and its creaminess, unless you have dry skin, is best set with powder for longevity. For everyday, apply selectively, like a concealer.
heavy-duty spot coverage
If you need a troublesome spot, a pimple or a scar, covered, then Laura Mercier Secret Camouflage ($28), though technique-intensive, will supply its powers: two ultra-pigmented shades to blend for a perfect match, and a totally matte, oil-free formula that sticks to the desired blemish.
setting powder
Truly, there is no equal to Caron Poudre Peau Fine ($45), down to its demure, old-fashioned rose scent. Without actual shimmers, it imparts an almost imperceptible, diffused radiance to the complexion, whilst creating unparalleled texture. For full-throttle retro glamour, add one of their extravagant swan-down puffs.
brows
Though we question of the necessity of two shades (consistently offered by every reputable brow product), we nonetheless appreciate the meticulous calibration of the Laura Mercier Brow Duo ($24), with its dry texture and appropriately drab colors; with brows, precision is the most critical factor.
mascara
Those who want the false-eyelash look should look elsewhere. While other mascaras may be more dramatic (or simply more gimmicky),Lancome Définicils ($24.50) is all about subtle enhancement: it lengthens, it separates, thickens while yet managing to look feathery, and does not smear or smudge.
Labels: caron, hit list, kanebo, lancome, laura mercier, mac, shu uemura
1/25/2010 [2]
Even for fine or oily hair, it's best to choose a shampoo that doesn't strip, a gentle, sulfate-free formula like the refreshing Avalon Organics Lemon Clarifying Shampoo ($8), especially if you color your hair.
light conditioner
Applied to the ends, Avalon Organics Lemon Clarifying Conditioner ($8) detangles, softens, and helps tame flyaways on fine or oily hair, without the excess buildup of the average conditioner, marketed at dry, damaged hair.
gentle shampoo
Perhaps the best thing for maintaining the condition of hair is its own oils—hair models are loathe to wash their hair too frequently—but it's hardly practicable to walk around with greasy hair. Some will find PHYTO Phytonectar ($24) disagreeably low on foam and far too nourishing (a texture like egg yolks); it is best paired with very dry, thick, long hair for which oils do not distribute sufficiently, as opposed to the typical moisturizing shampoo that really designed to gloss over damage. Plus, it makes your shower smells of blooming orange blossoms.
rich conditioner
Bumble & Bumble Super Rich ($22) falls somewhere between a rich daily conditioner and deep conditioner to provide intense moisturization for moderately-to-very dry hair types. As such, it's appropriate for both daily conditioning and a weekly deep conditioning, depending on dryness. A dense, creamy formula applies easily and stays on hair without turning gloppy or creating a mess. The fragrance, though delicate and appealing, is light enough for those with sensitivities. It also comes in a convenient travel-size of two ounces, as well as a full liter, if you go through conditioner faster than water.
leave-in
Most hair creams are designed to "finish" the hair, taming flyaways and adding a little sheen, post-styling. In this capacity, as a light styling product creating subtle separation, definition, and hold without adding grease, PHYTO 7 ($26) will serve, but it is better viewed as a nourishing leave-in treatment along the lines of face cream, rather than styling product; with repeated use, it genuinely improves the condition of the hair, though we're not claiming miraculous turnarounds.
oil
Unlike silicones which simply coat the hair, we favor the penetrating nourishment and the damage protection of an oil such as REN Moroccan Rose Body Oil ($65) and unlike silicones, the hair improves with continued use. A little goes a long way, however; when massaged into damp hair, it's not as greasy as might be expected, and even subtly enhances the natural texture of the hair, for bouncy, crisp natural curls or loose, abundant waves when thrown into a careless bun.
texturizer
Jonathan Dirt Texturizing Paste ($26) manages to achieve that rare, delicate balance necessary for texturizers, emulsifying easily while providing lasting definition and hold. Though this paste initially feels hard, almost like a clay, in the hands it emulsifies into a creamy, slighty tacky consistency that easily grabs and defines hair. The hold lasts all day, looking even more natural and defined throughout the day, as it absorbs into the hair.
frizz-fighter
Though we remain skeptical that any product can be 100% frizz-proof, No Frizz ($24 for four ounces) impresses us with its abilities to straighten hair and resist frizz. It's straightening abilities are particularly impressive, relaxing hair on its own and creating a formidable barrier against frizz that protects the desired sleekness when when combined with heat. We are especially pleased that the product is offered in three formulations, which target the needs particular to fine-to-medium, medium-to-thick, and thick-to-coarse hair types.
fixative
Bumble & Bumble Spray de Mode ($25) offers flexible hold that can be brushed through, deconstructed, and molded again without creating stiffness or damaging the hair. This product is truly multi-faceted—it can be used as a texturizer, volumizer, or simply as a hair spray with a buildable amount of hold—everything you could need.,
hair dryer
Heat is one of the enemies of good haircare, but if you must blowdry frequently, for heat is unfortunately an ally of good styling, then invest in a Bespoke Labs T3 Tourmaline Overnight ($130), which dries hair quickly and thoroughly, to limit exposure to damage.
brush
Yes, we know the expense is insane. Yes, we know there's a far cheaper Sonia-Kashuk dupe. But it's just not the same. The original Mason Pearson Boar Bristle & Nylon Handy Brush ($108) is a dream—massaging and stimulating the scalp, then distributing oils evenly down the hair shaft—it feels exactly like the luxury it is.
Labels: avalon organics, bumble and bumble, hit list, jonathan, mason pearson, no frizz, phyto, ren, t3
1/23/2010 [0]
makeup remover
For the second year, DHC Deep Cleansing Oil ($25) tops our list. It looks and smells like extra virgin olive oil with a touch of rosemary, and like oil, easily dissolves most makeup with dirt and excess oils, but unlike olive oil, it rinses off cleanly with water. One or two pumps will manage the average face, and a 200ml bottle lasts the better part of a year. On its own, DHC Deep Cleansing Oil works well on normal-to-dry skin; those with oilier skins may like to follow up with a foaming cleanser if the residue lingers over their minds.
cleanser, for oilier skin types
Free of fragrance, harsh chemicals, exfoliants, and acids, Neutrogena Fresh Foaming Cleanser ($7) effectively cleanses oily skin without the stripping and irritating effects common to cleansers aimed at this skin type. A single pump is all that is required to both cleanse and remove makeup. Readily available and inexpensive, it's the one thing we all want—quality skincare without pain or hassle.
cleanser, for drier skin types
Lotion cleansers are fast becoming a dying breed, as contemporary tastes overwhelmingly favor clean-rinsing suds over the slimy film lotion cleansers leave behind, and their claim to gently, thoroughly melt through makeup, when fulfilled, is now overmatched by cleansing oils. A good one is hard to source; for dry, fragile, and easily irritated skins, Clarins Cleansing Milk with Alpine Herbs ($29.50) cushions and comforts the skin, instead of stripping precious sebum away.
weightless, purely penetrative hydrator
Saturated with humectants like sodium hyaluronate, amino acids, and seaweed extracts, Malin + Goetz Replenishing Face Serum ($68) introduces high levels of moisture into the skin without occlusive emollients, ideal on its own for dehydrated but oily skin. Drier skin will love it as a hydrating serum beneath their regular moisturizer; the humectants improve the efficacy of even the most expensively calibrated creams.
light, middleweight emulsion
Moisturizers with SPF should properly be worn daily, although we all fall a little short in that department. While there are myriad products on the market promising both moisture and UV protection, many suffocate the skin as a thick, rubbery barrier, are excessively fragranced, or cost so much that one skimps on the necessary application. In the sensitive skin formulation, Olay Complete ($15) is scent-free, moisturizes discernibly without being excessively greasy, and is inexpensive enough to apply liberally, every day.
rich, heavy-duty protective cream
What makes Embryolisse Lait-Crème Concentrée ($25), almost sixty years old and a composite of rather humble ingredients, so remarkable is its ability to protect and soothe raw, parched skin, and yet absorb rapidly for a beautiful finish under makeup. When thinned out, it does not smother dehydrated skin, and yet is rich enough to substitute eye cream. Compared to drugstore moisturizers, it's worth the extra trouble of sourcing, while it laughs in the face of those affected, posh labels.
sunscreen
Broad-spectrum, effective, heavy-duty protection from a sunblock is never a very glamorous thing, but Shiseido's (~$30, several formulations) are almost reasonable to wear; they feel less like a choking layer on the skin than others. It's waterproof, so you may require a cleansing oil for removal; we suggest Olay for daily use. For targeted protection on the lips, a whitish paste is sometimes the best one can hope for. Banana Boat Sport Performance SPF 50 Lip Balm ($2.99) defies the odds by offering broad-spectrum protection in a user-friendly formula with no taste, no sunscreen smell, no whitish cast, and the same amount of moisturization you'd expect from your favorite Chapstick.
exfoliant
Although there are many physical exfoliants on the market—most consisting of particles suspended in gel—we haven't encountered any easier to control, more thorough, or better priced than the reusable Salux cloth ($0.99). Rub gently if your skin is sensitive.
lip balm
Once we acquired the large 4.9 oz tin of L'Occitane Shea Butter and friends from all around, for they were all (independently) fans of the handsomely packaged mini as a lip balm ($9), gathered for refills. One day, we awoke to find that curious fingers had scooped out nearly half the tin's contents. A little goes a long way; pure shea butter is highly reparative and protective on chapped skin anywhere on the body. For extra softening while you sleep, try layering it over a rich eye cream; it's the best remedy for chapped lips we've found.
Labels: banana boat, clarins, dhc, embryolisse, hit list, l'occitane, malin + goetz, neutrogena, olay, salux, shiseido
1/22/2010 [0]
Plus, I love a woman who demands a moment of silence for a great red lip.
Here is the original:
Labels: marlene dietrich, pixiwoo, tutorials
1/12/2010 [2]
While flipping through a preview of Harper's Bazaar Fabulous at Every Age recently, I ran across an interesting point. Under the section for evening dressing, there was a picture of Lou Doillon as above, dressed for the Costume Institute Gala in 2008. Doillon's picture was used as an example of "rebel" dressing, and the accompanying soundbite urged readers to stay true to their style, even when dressing for night. This rang true for me. I know what it's like to try to dress for evening when all the styles for sale are ultra-feminine, super-girly, or just sexy-unto-skanky. It is hell. There is very little out there that is suitable for someone who doesn't want to dress like a cookie cutter image of a starlet, a porn star, or even a style blogger. Unlike regular people, who take their style inspirations from Sex and the City, starlets, and their morals and who only look upon Balenciaga and Givenchy as freaky aspirational wear (you know, the sane), I don't have the option of running to the store and finding something to wear. In order to stay true to my own look, I have to improvise and come up with something that is entirely my own. Though the eccentrics are small in number, we are not alone. Here are a few evening looks that I consider ideal.
I have loved this outfit on Daria Werbowy since I saw first saw it two or three years ago. She could have easily tarted up this Versace dress (it is not exactly quiet or modest). It's the addition of the jacket and the tights that take this from tacky to wearable, at least as defined by my scale of relativity. It's these personal touches that also transform this from a showstopper dress into an outfit. This outfit is an example of what can be done with evening wear and clothing in general - make it your own, add your own touch of what you think is right, and you look like an original, and it's this original approach that makes Daria stand out more in this dress than would JLo, Beyonce, and whoever else would place their more literal stamp on it.
This is another outfit burned into my brain. Worn to the 2000 Oscars, I was totally and completely taken with this Jean-Paul Gaultier look worn by Cate Blanchett. This is the ideal evening look for me: dramatic, minimal (just a plain black dress with a train), with jewelry acting as integral accessories to the look rather than show pieces in themselves. This look offers the showstopping, look-at-me qualities seen in other red carpet looks without the swagger of, say, a more blinged-out Versace number (see above). Despite the drama, the dress doesn't scream at you, and with the front kept plain, it still draws attention to the wearer rather than itself. I secretly hope to have an opportunity to wear this someday.
I can see how this Mary-Kate Olsen ensemble (front) could be considered obnoxious, but I get this on a very deep level. Nothing about this outfit goes together, not the black belt with the brown fur, not the transparency of the dress with the formality, and certainly not the hose with the wedge heel sandals. Somehow, though, where this would fall apart under other hands, these combinations seem to work together and flow under Mary-Kate's supervision. This is her specific vision of what she likes and how she thinks things go together, and it can be equally applied to both day and night. This is what separates the individual and particular from the merely pretty or conventional.
What I love most about this outfit, even more than the synthesis of its disparate Gothic elements, are the hose with the shoes. This is such a singularly eccentric element and looks so much like something I would wear myself.
Labels: cate blanchett, daria werbowy, fashion notes, mary-kate olsen
1/11/2010 [1]
Barefoot Contessa speaks to that part of me that, in college, was enamored with all things American upper-middle class. At the time, I wanted to live expensively and well in Manhattan in what would essentially be an extended episode of the now-defunct The Isaac Mizrahi Show. Though not set in Manhattan, it is this rarefied experience of life that is explored in Barefoot Contessa, which follows Ina Garten as she pares down French cuisine and the best of American upper-middle class fare into recipes that can easily be reproduced at home. Set in the East Hamptons and Paris, this show follows the Food Network formula of luscious cinematagraphy, an easy, engaging pace, and friendly, informative host to invite viewers into the world of culinary arts. Barefoot Contessa is among my favorites of the Food Network lineup because Ina consistently features vegetarian dishes, truly pares down recipes to make them as simple and efficient as possible, and is a very warm, low-key host. She seems the type of person that, were you to attend her party, you'd leave feeling relaxed, warm, and well-fed.
Here's the thing about Barefoot Contessa: it can be really, really boring. The same things that make the show so comforting - Ina's laidback demeanor, the unhurried pace, the general lack of pretention - can also make it move at a glacial speed when Ina's preparing uninteresting dishes. So why keep watching? Because ultimately, the comfort the show offers doesn't come so much from the host or the food or the enjoyment of the show itself, but from it's secret subtext: money. This show is all about money, even moreso than most other Food Network offerings. Money is everywhere, from the fact that Ina owns residences in two exceedingly expensive locations to the warm, soft lighting to the expensively understated kitchen to the offerings themselves. As likeable as the show is, the best part of it is how its money smooths everything over. Ina's garden always looks immaculate, her guests have refined tastes, and everything runs smoothly and on time, therefore, no worries. It's really this idea of a world where money can buy time, peace, and a hassle-free existence that has me hooked on this show, just as when I previously wanted to live life as a guest on Isaac Mizrahi's show. Obviously, money cannot buy happiness or love, but it can make life considerably simpler. Having the money to afford the time and materials to invest in your hobbies, as well as in materials that consistently work well, must eliminate at least some of the hassles in life. Likewise, not having to worry about money and instead spending your time doing the things you want to do in life seems like a pretty fulfilling way to live. Of course, I couldn't tell you if that's how Ina Garten actually lives, and I am pretty sure Isaac Mizrahi doesn't get to enjoy that existence all the time. Still, it's nice to watch the illusion of it, and so I continue to watch Barefoot Contessa and wish I was in her kitchen, surrounded by gadgets I'd never use but still enjoy just for knowing that everything - in that kitchen, in that house, at my disposal - was there to make my life easier and more pleasureable.
Labels: barefoot contessa, culture notes
1/05/2010 [1]
We hope, with these group posts, your acquaintance with us, dear reader, is sufficiently improved, for this will be our last. The format is somewhat experimental, based fatuously on Plato's great dialogue on desire, which may account for whatever lapses of coherence grate on your ear. Endings, much like beginnings, are license to pause and reflect, in this case, on the pursuit that we have in common: we're shoppers, all.
- Where do you find your sources of inspiration? Or do you simply refine, from the vagaries of experience, what works for you?
Dorothy I'm not systematic about it at all. I read fashion magazines, but a lot of what they're pushing is, well, trends. This isn't a complaint; you can't produce a new classic every month, at least not indefinitely. I tend to take on fashionable looks slowly, after seeing them again and again for some time. Seasonal trends are often both predictable and silly, but silhouettes do change; the eye gets trained to something new.
Anne I envy the originality of girls who can throw on a bunch of totally disparate clothes that look like it would never, never work together in a million years and somehow make it work, but most of us aren't like that. And even the girls who can do that often end up looking like they're out of touch with the world around them... it's not necessarily a bad thing, but it doesn't work for me, because...
I'm most comfortable wearing clothes that can go anywhere, anytime, and blend in; I don't think I would want to use my clothing as a medium of self-expression, as I would rather have that sort of thing come across in my actions and words. I don't want to let people have all the answers in a single glance. All the same, I do want my clothes to look lived in, like something that shares my identity and life, like a part of me.
Dain You can also subvert people's expectations with clothes. I'm much, much more aggressive than I appear; it's always irritated me that my style is so unabashedly feminine. The question of inspiration puzzles me. In all sincerity, I don't want to ape Grace Kelly, but my body type seems to pull rank over my personality.
Dorothy I live in a pubby, sweaters-and-boots kind of town—it's full of young people who walk everywhere—but I live in an area with a lot of foreign students (mainly Chinese and Korean) who have a slightly different aesthetic, and I observe what they wear too.
The Kindly One As with clothing, I have refined my sources of inspiration to better suit me, and I have to say, giving up the catch-all approach has saved me considerable cash.
Dain Style hits this queer intersection between assiduous refinement, cultural response, and a sense of humor. All forays into aesthetics rest on the processes of externalizing the internal consciousness; trends are known for their lack thereof. Inspiration should invoke no such denunciation—after all, none of us operates within a social vacumn—so long as it's conscious. Before those pieces that appeal make their automatic leap into my closest, they must be first arrested in the consciousness.
Assiduous refinement: Kate Moss. Cultural response: Janis Joplin. A sense of humor: Dietrich in drag.
Dorothy A lot of what I like has been drawn from old movies, or from old photographs of my grandparents. I once bought an outfit—and wore it—because although no one else would have caught the reference, it reminded me of my grandfather's Royal Navy uniform. My paternal grandmother dressed very well—her mother was a professional seamstress, and she was quite skilled herself—and I inherited her colouring and build, so I look at old photos of her for inspiration.
- If ethics, practical concerns, and money were no object, what would you wear?
What I search for when I shop is clothing that fits me in terms of shape and proportion; that reflect my personality; and that flatter. In the end, I want to look like the best possible version of myself.
Dorothy I don't think at present there is a designer I'd wear exclusively. My taste leans heavily to the retro, so I think I'd always be drawing a little from here, a little from there. Although I do fancy one (or several!) of those Roland Mouret sheaths.
Dain I would probably wear Loro Piana. As much as I admire McQueen or Elbaz, and their clothes do make beautiful visual statements, while Loro Piana isn't known for much other than its exquisite cashmere, I think when it comes down to it, I'd rather invest in the highest quality clothes but in a plainer idiom—a kind of Italian, ne-plus-ultra luxury version of J. Crew. It wouldn't date; I could wear those clothes forever. I've realized I abhor trends, no matter if they are expensive originals, they are still inimical to me. But it's equally childish to respond to a flux of mini skirts with a dirndl. Timeless quality rises above the fray, I think.
Anne High-quality basics are about the easiest thing to wear. Finding the perfect, wearable piece, is not necessarily what you're drawn to, but what you are the most comfortable with.
The question is, how does one create sufficient subterfuge with basics (indeed, this can apply to any easily recognizable "style") and still own the look, make it reflect yourself, make it something you feel comfortable with?
Dain Aye, easy to wear, but exceedingly difficult to shop.
Anne Choice bewilders me. I aim to pursue the same thing that The Kindly One pursues, which is to fall within some vaguely defined triangular space defined by perfect fit, the right style, and self-flattery. I just meander the maze of retail in frustration before I lose patience and snap something up anyway, not because I especially like it, but because I'm tired of waiting for the right thing to come along, because I despair of actually finding something I like (especially within my price range), because someone said I ought to have it, because I might as well while I'm waiting for exactly the right thing to come along...
The Kindly One It's funny, sometimes you sound just like how I think, Anne. I used to buy things out of frustration, panic, and anger. Now I just apply those feelings to men. It's so much more appropriate that way.
Dain hehe
Dorothy When I need something specific (like October, when I needed to buy a new interview suit) I find it frustrating to search for it. I remember discussing this with my mother when I was about 14—if you go looking for something very specific, even if it's a basic, you probably won't find it. When my mother was a teenager she spent years looking for a simple navy blue skirt—you wouldn't think that'd be hard to find in the '60s—and yet she never found one that worked. It's a little easier these days, what with the Internet and the relative ease of shopping internationally, but still.
The Kindly One I've found that the best thing is to do some research without the goal of purchase. I've spent some time trying on a variety of things in stores and found which fabrics, fabric weights, cuts, silhouettes, etc. work for my frame. I didn't end up buying anything, but that wasn't the point, but to avoid that horrible panicky feeling of "Oh God, nothing works." It doesn't matter because it doesn't have to. I've also noticed that the designers I admire, there is often a difference between what they actually produce and what they send down the runway. Now I can eye a cut and envision whether it'll suit me. I found that some designers that I quite like, like Vivienne Westwood, produce very little clothing I would actually wear, and other designers that I had a mild enthusiasm for, like Watanabe and Demeulemeester, produce the highest volume of clothes that I like.
I've also found the most painful part, as with love, is honesty, i.e. asking that hard question, "Does this work?" Mostly, the answer is no, or if it's yes, it requires a lot of adjustment that might be worth it for a great love but isn't necessary for a pair of pants. As for how I shop, it is nearly like scavenging. Maybe once every one or two months, I make a point just to see what's in stores and online. Since there are very few items that I really like and that fit my purchasing criteria, this ends just a few pieces a year.
Anne True, you need security in order to be able to have adventures. With a stable starting point, you can make forays into pretty much any direction without having to fear losing your balance.
Dorothy I tend to shop intuitively rather than purposefully; this is partly because I have a wardrobe that covers most of the bases, so I can wait for that moment when I look at myself in the fitting room mirror and think "yes, this is mine." Mostly, like The Kindly One, I explore. But I don't have a list. I end up buying a fair number of things that I love and feel great in, even if I don't really need them. It's undisciplined, and yet I don't think I'm ready to give it up.
The Kindly One I highly agree: if I try something on and don't want to give it back to the store, that's the right item for me. It's not a sense that can be forced or induced or even explained, just that deep sensation of right.
To my mind, clothes that reflect something of myself and that flatter are closely associated with one another. Not everything that I would like to wear flatters me, and I don't feel comfortable in ill-fitting clothes, but were I to try on something that completely flattered my figure and yet was anathema to my personality, I would never buy it.
Dorothy I think one's style (if one cares about style) probably solidifies along with one's personality, and a lot of that is about figuring out what you're not, closing doors—sounds sad, maybe, but there it is. At this point, although I have a pretty good idea of what sort of person I am and what works on my particular body, I feel the need to keep trying things that probably won't work: sometimes I'm really drawn to the hyper-frilly Nanette Lepore aesthetic, for example, even though I think my body and face are too angular for that.
Anne If I could wear anything, I like A.P.C.'s aesthetic more than anything else. They combine almost-preppy staples in such a way that it looks nonchalant, slightly tomboyish, like you just picked it up off the bedroom floor, yet there is almost no clash to draw attention to the outfit itself, just leaving behind the vague impression of, not a well-dressed, but an approachable yet self-possessed person: in short, cool.
Labels: fashion notes
12/31/2009 [0]
Sketchbook
Dain
Dorothy
The Kindly One
Anne
Features
The Mnemonic Sense
The Beauty Primer
Lookbook
Most Wanted
Closet Confidential
Color Me In
Designer Index
The Makeup Artist
The Library
Beauty Notebook
The Hit List
Globe Trotter
Glossies
Wedding Bells
Desert Island
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