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One of the biggest trends to come out of New York fashion week thus far has been the use of once-famous, formerly-retired, suddenly-resurrected models. Naomi Campbell opened Zac Posen’s show, followed by Isabeli Fontana; Marimekko had Carol Alt, Pat Cleveland and Carmen Dell’Orefice; and Alexander Wang had Liberty Ross, who now lives in California, and recently made headlines when her husband, Rupert Sanders, had an affair with actress Kristin Stewart. When these women appear on the catwalk they generally get lots of applause, but I wonder who actually is benefitting from the relationship?
The perils of betting on celebrity dressing were potently illustrated at the Grammy awards. The night’s superstar, Adele, wore — wait for it — Giorgio Armani to accept her six gongs, before changing into Clements Ribeiro for her performance and Burberry for her finale.
I say “perils” because yesterday, as I made the rounds of New York Fashion Week, I heard two separate design camps claim she would be wearing them.
The first time was at the Zac Posen show, when an insider mentioned that, fingers crossed, Adele was going to be wearing one of their dresses. It wasn’t 100 per cent sure, she said, but it looked good.
It’s that time of year when everyone looks back, assesses, makes their naughty and nice lists, and, in this world (ie, the world of this blog) generally makes best and worst dressed lists, which as far as I can tell, are just handy excuses to re-print as many pictures as possible of Gwyneth Paltrow. So I was quite pleased to discover the CBS business network (bnet) had instead come up with the 10 worst fashion business mistakes of 2010. Read more
Last night I went to the Pierre hotel in New York to see a Lanvin loves H&M fashion show. They – by which I mean H&M, since this was clearly their gig to fund, though it had been given a Lanvin make-over — had taken over a jewel-like ballroom in the luxury hotel and erected a catwalk; outside was a red carpet. Read more
Should fashion be a family affair? At the beginning, it often has to be — where is a young designer going to find an executive who believes unreservedly in his or her talent, is happy to do the backroom work so they can have their creative freedom, and will toil away at all hours for little or no money, other than at their breakfast table, or childhood home? Read more
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