There’s something going on in the knicker drawer. After the cami, the big Bridget Jones brief, the Brazilian thong, the Spanx and the sporty, lingerie is going back to the 1990s with a boom in androgynous boxer-hybrids of the type not seen since Kate Moss and Mark Wahlberg first flashed us their Calvins in 1992. Grunge-era underwear – the “grundie” – is back.
What is a gown? And where does such an extravagant garment belong in a world of denim and parkas?
One of the liveliest debates exercising the fashion world focuses on a suit. No, not the patchwork denim tuxedo modelled by Katy Perry’s new beau Riff Raff at the VMA awards last weekend. Nor the his ’n’ his black-lapelled ensembles worn by Woody Harrelson and Matthew McConaughey to present at the Emmys. Instead, a most ferocious debate has been unleashed by Mikey Dickerson and his decision not to wear one at all.
This September's Vogue Italia cover © VOGUE
Quite what the collective noun for models might be is debatable (a symmetry? A perfection?). But we should find one, because model gangs are owning the September issues.
The news that the street-fashion photographing power duo Scott Schuman and Garance Doré were no longer romantically involved was announced, appropriately enough, via their independent blogs. “After seven wonderful years, Garance & I have decided to split,” Schuman wrote on TheSartorialist.com 10 days ago.
The Honourable Woman, the political thriller currently reaching its apogee on the BBC, makes a compelling case for the continuing influence of minimalist power dressing. Hugo Blick’s eight-part conspiracy drama, rather dishonourably squandered within the holiday doldrums of the summer schedules (and now airing to US audiences on the Sundance channel), features such sumptuously luxuriously spare tailoring, svelte silhouettes and form-skimming power skirts that one could argue that the Célinification (so named after the influential label headed by the 41-year-old designer Phoebe Philo) of the moneyed elite is now complete. At least onscreen.