Wednesday 25 April 2012

bird hat

 

More feathers!

{Image via mcqueenadillo}

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Saturday 14 May 2011

a show-stopping hat

 

Off to the races, and want to don one of these stunning Suzy O’Rourke headpieces to honour Black Caviar!

Hats have played an important role in the history of horse racing for centuries, dating as far back as August 1711 when the ordering viagra first race meeting was held at the world famous Royal Ascot in the United Kingdom. There it was decreed that ‘all guests within the Royal Enclosure adhere to a strict dress code: male attendees must wear full morning dress including a top hat, whilst ladies must not show bare midriffs or shoulders and must wear hats’. It didn’t take long for the Royal dress code to catch on at the major racetracks around the world… albeit a less severe dress code than at Royal Ascot, race goers still respect the tradition of appropriate attire and of course a hat. Suzy O’Rourke, Sydney Milliner

These elegant and luxurious collection of hats, headpieces and fascinators, made from fine lace, leather and feathered fringe, are from the LE PALACE – AW11 COUTURE collection. Inspired by the infamous Paris club – Le PALACE where fashion, music and underground culture intersected to create an extravagant spectacle. Among those who adored Le Palace were Karl Largerfeld, Grace Jones and lasix sale Andy Warhol to name a few.

{Images via Suzy O’Rourke website}

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Friday 6 May 2011

Top Exquisiteness

 
 

The Philip Treacy’s Touch“: Daphne Guinness in Vogue Italia.

{Source: The Terrier and Lobster via (Scala Regia}

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Monday 31 January 2011

Happy Birthday Vogue Paris!

 

Anna getting ready for the masquerade…

Vogue Nippon’s Anna Dello Russo dressed in Emilo Pucci gown and Gareth Pugh headpiece.  The photos and commentary below is of her dressing captured by Tommy Ton of Jak and Jil.

AT HER SUITE AT THE RITZ AS SHE GOT READY FOR THE MASQUERADE BALL CELEBRATING VOGUE PARIS’ 90TH ANNIVERSARY. I THOUGHT WHY NOT AND I COULD NEVER SAY NO TO ANNA OF COURSE. IT’S NO SURPRISE THAT WHEN ANNA HAS THE OPPORTUNITY TO DRESS UP, SHE WILL GO ALL OUT. FUNNILY ENOUGH, INSTEAD OF THE TAKING THE PREDICTABLE BORING ROUTE LIKE MOST PEOPLE DO WHEN THEY’RE INVITED TO A MASQUERADE BALL, ANNA WENT TO HER FRIEND, PETER DUNDAS, AND ASKED HIM TO CUSTOM DESIGN HER AN EXTRAVAGANT PUCCI BALL GOWN TO WEAR. TO MAKE THINGS EVEN MORE OVER THE TOP, SHE REQUESTED THE FEATHERED HEADPIECE FROM GARETH PUGH TO TOP OFF HER LACE MASK AND WHITE WIG. SHE TOLD ME HER INSPIRATION WAS LADY GAGA FOR THIS LOOK. I JUST HAVE TO SAY THANK GOD ANNA HAS FUN WITH FASHION BECAUSE SERIOUSLY WHO STILL DOES? ADR FOREVER!!!

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Tuesday 2 November 2010

All a flutter

 

More racing inspiration from Christian Dior Haute Couture Autumn/Winter 2009/2010.


Just look at the hats … the vibrant colors … the innerwear as outerwear … and marvel at Dior designer John Galliano’s homage to the 1950s.

Jenny Barchfield of the viagra online shop Associated Press shares a few details:

Half-dressed models in waspwaisted jackets with outrageous bouffant sleeves and flesh-colored garter belts, or in pouffy skirts heavy with beadwork and pointy 1950s-era bras, loped languidly through the labyrinthine showrooms at Dior’s Paris flagship store, where the runway show was held.

Hourglass-shaped dresses in vibrant jewel tones dipped in the back to reveal the suggestive laces of a tightly cinched corset. A flesh-colored slip peeked out from beneath a knee-length dress, its sexy silk undermining the dress’ straight-laced seriousness.

And I can’t resist these two beautiful dresses for the post track celebrations!

{Images via Trendmill, Vogue Aust, M&C, Herald Sun}

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Monday 1 November 2010

When A Hat Is All That Matters…

 

You need little else but a hat to make a real entrance and discounted proscar be noticed…

Tomorrow a horse race will stop a nation ~ the legendary Melbourne Cup will be run on and off the field.

I’m off to the track and thinking about hats!

These photographs were created for a feature in the Irish Examiner Newspaper, and were photographed by Miki Barlok.  They feature the designs of talented Irish Designer Bonzie.

All those involved in creating this amazing photoshoot are listed at the end of this feature, and details of all the designs used in the shoot are provided on the Blog of Stylist, Annemarie O’Connor.

Miki Barlok is a Slovakian photographer who’s been living and working in Ireland for four years. With a background in architecture, a lot of his photographs show strong attention to the structure of the picture within the photograph, of the design of the image.

♥  Photography ∼ Miki Barlok
♥  Styling ∼ Annmarie O’Connor
♥  Hats ∼ Edel Ramberg and Tootsie Royale
♥  Accessories ∼ Bonzie

{Images via Love my dress}

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Sunday 27 June 2010

Hat tricks ~ indulge in the kooky + the majestic!

 

Stephen Jones for Christian Dior Haute Couture

Hats: An Anthology by Stephen Jones’ is a collaboration between Jones and London’s Victoria and Albert Museum that showcases more than 250 hats and iconic headpieces, providing an inside glimpse into the world of millinery. The exhibition comprises an array of iconic headwear, such as a twelfth-century Egyptian fez and a wide-brimmed black silk tulle hat from Christian Dior’s first collection in 1948, along with some of Jones’s own creations, including Mick Jagger’s hat worn for the Rolling Stones ‘A Bigger Bang World Tour’ and Kylie Minogue’s Visor Headress from her ‘Showgirl’ tour. It runs from March 27 until June 27 at the Queensland Art Gallery, its only Australian venue.

Kiss of Death hat by Joe Gordon

~ the long rigid black feathers are like an Indian chief’s headdress caught in a high wind.


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Sunday 27 June 2010

Alexander McQueen ‘laughing with Isabella Blow in heaven’

 

Alexander McQueen’s friends are taking comfort

from the thought that the acclaimed fashion designer

has been reunited with his mentor Isabella Blow.

Ms. Blow, the eccentric British stylist who was known for wearing daring hats, is credited with discovering Mr McQueen.  The style guru was known for her love of eccentric headgear and generic levitra soft tabs red lipstick.

McQueen’s graduate collection caught the attention of Issy, the late, legendary, fashion guru who purchased his entire graduation collection and helped him make industry connections.

Ms Blow had said:

‘My relationship with McQueen began in 1994, when I went to a Saint Martins graduate show.

I couldn’t get a seat, so I sat on the stairs and I was just watching, when I suddenly thought:

I really like those clothes, they are amazing. It was his first collection.

‘It was the tailoring and the movement which initially drew me to them.

I tried to get hold of him and I kept calling his mother, but he was on holiday.
She kept saying: ‘He’s not here, he’s not here.’ She told him: ‘This crazy person is trying to get hold of you.’

I eventually got to meet him and I decided to buy the entire collection for ₤5000: I bought one thing a month and paid him £100 a week. He’d bring an outfit in a bin liner, I’d look at it and then he’d come to the cashpoint with me.’

Isabella Blow, who took her own life after a long bout with depression, was the inspiration
behind the collection that Alexander McQueen unveiled at the Omnisport Bercy in Paris, 2008.

Blow’s suicide in 2007 “just left a big void in my life,” McQueen told W magazine.

In Isabella’s memory, he dedicated his Spring Summer 2008 show to his late friend.

The Issy tribute show, had angel wings as a backdrop and buy viagra now online a poster-size invitation, illustrated by Richard Gray, that arrived in a giant cardboard cylinder. It depicted a triumphant Blow, in a McQueen dress and a Philip Treacy headdress, riding to the heavens in a chariot pulled by winged horses.

Avian Influences

Alexander McQueen Spring 2008.

On entering the white-on-white space the mood had an affectionate nostalgia for Issy Blow,
whose favourite Robert Paguet scent, Fracas had been sprayed liberally around the room,
and pink boxes containing fragrance were on the seats:

all denoted that this would be a fitting tribute ~ love was in the air.

As her two most successful discoveries and close friends,

Philip Treacy and McQueen collaborated on the show in tribute to Issy.

Entitled La Dame Bleue it featured typically ambitious head pieces from Treacy

- from his signature butterfly swarms to metal visors and incredible spiral sweeps of chain mail.

Any one could have been chosen by her for any of her public appearances – or indeed, any of her trips to the office. For Issy, no day was a dress-down day and her nipple-revealing corsets, boxer short moments and eye-catching, eye-covering hats were legendary in Vogue House at any time from Monday morning to Friday night.

To honor Isabella Blow, her collection of Phillip Treacy hats must be acknowledged. McQueen’s models wore headgear that ranged from simple feathered creations to a full fencer’s mask. A rainbow colored dress with its winged feather collar both paid homage to Blow and order synthroid without prescription made allusion to a phoenix rising.

The theme of birds—particularly symbolic of Blow—held the show together.
From bird-of-paradise silhouettes to wing-like capes and feathered details,
the show was an ode to delicate creatures of the sky.

The gallery shows the bird-of-paradise inspirations in head adornments, colourful capes that resemble an extended set of wings, a stunning dress in what appears to resemble the feather patterns of an owl and a grey dress so pale, it evokes images of the soft plummage of a swan.

A huge set of mechanical wings flashed red above the catwalk as we heard Pegasus

snorting and taking off, and when the show began models took to the catwalk,

emerging from the eagle sculpture.

Models came out of the pulsating wing-shaped light sculpture wearing hats of all types: metallic structures, swarms of butterflies, pink patent leather fencing masks and feather headdresses were all represented.

At the end of the show, models took their final runway turn to the tune of a romantic Neil Diamond song, and many of the guests wiped away tears.

Hats off to Isabella: Style icon’s funeral brimmed with emotion

Arriving a fashionable 15 minutes late for her funeral at Gloucester Cathedral,

her woven willow coffin was draped with lilies and white roses.

It had been preceded by a stream of gazelle-like models and six black horses that drew her glass hearse.

Even at her funeral, Isabella Blow managed to have the most spectacular hat in the room.

Though many wore extravagant creations in tribute, none could top the

Philip Treacy black sailing ship bonnet adorning the coffin.

On top of her coffin were white roses surmounted by the black “ship” hat,

worn at various times by both Blow and the singer, Grace Jones.

She wore a long red silk coat embroidered with gold and where to buy cialis in canada with a tassled hem, with matching gold platform shoes, specially made for her by the designer she discovered and championed, Alexander McQueen. On her head was her favourite “pheasant” hat by the milliner, Philip Treacy, another of the designers she launched into the global spotlight. ”I’m having space made in my coffin for a pheasant hat,” the Issy once said.

“I love the idea of the feathers dying with me slowly.”

The coffin was borne away in a Victorian glass hearse drawn by three matching pairs of bay horses.

Their ostrich-plumed headdresses had been specially embellished by Treacy to be even more luxuriant.

The service opened with the hymn O Pray For The Peace Of Jerusalem, composed by John Blow, a descendant of Blow’s husband. Blow was said to regularly attend the cathedral “always in different hats” with her husband Detmar, whom she married there in 1989. Detmar attended yesterday’s service in the same black suit that he wore at their marriage.

The funeral was conducted with the style, extravagance and flamboyance that marked her life.

Issy would have loved it!

Isabella Blow’s  husband, Detmar Blow,

recalls the deep bond that united the designer and his muse.

I first met Alexander when Isabella invited him to live with us at 67 Elizabeth Street in Belgravia. We were on the top floor, [the milliner] Philip Treacy on the first, and Alexander was on the ground. Issie was working at British Vogue at the time and had come across Alexander at his graduate fashion show in 1992.

There was an expectant atmosphere, and no seats were left,

so she ended up sitting on the stairs watching the clothes go past.

She returned home enraptured, his clothes were, she told me, unique -

he could cut material like a god and they moved like birds.

Issie was on the case.

Alexander would later tell me that his beloved mother had told him:

“There is this crazy woman who keeps ringing up about your clothes.”

They met and Issie asked how much a jacket was. He said £300.

She said: “That’s a lot for a student.”

Like Issie, Alexander had a sharp wit. They were from very different backgrounds but had much in common. They both had a creative vision that was innovative and cheap levitra canada thoughtful, too. They also shared a darkness. Both had unresolved issues from their childhoods, and they remained burdened by these weights.

Alexander moved to Hoxton Square the following year when it was still very scruffy and set up his studio. It was an instant success. He possessed the most extraordinary tailoring skills, but he also loved to shock, something that was apparent in his shows. Of course there was the frivolity of fashion, but he commented too on the darkness of life. His work had themes about rape, say, or death, or featured models with prosthetic limbs.

He was so close to his wonderful mother, Joyce, who was a genealogist. She had researched the McQueen family line and had discovered that they were grave-diggers in Inverness. This appealed to both Alexander and Issie hugely.

Alexander loved going to Hilles, my family’s house in Gloucestershire. He loved nature. “Detmar, it’s a jungle out there,” he would tell me, and would say how, even as a boy, he’d watch the birds hovering around the tower blocks in the East End. After his shows, he would come to Hilles for a break. We would do a lot of walking and talking. Issie organised two local falconers to come up to the house as she knew how much he loved birds.

In 1996 he was appointed head designer at Givenchy. The job came out of the blue. It vindicated Issie’s courage in championing him over those four years – she was, I feel, often ridiculed and mocked as a fringe eccentric.

Issie travelled to Paris with Alexander when he signed the three-year Givenchy contract. She returned home without a job from him. Alexander worked with [the stylist] Katy England, and that was that. Issie was so sad about this. She had an exciting vision for him at Givenchy – and a new Audrey Hepburn in her cousin, the model Honor Fraser.

After this were the years of building his brand, with all this money coming through. The relationship between him and Issie had changed, of course. Yet Issie remained faithful when it came to her signature silhouette:

a Philip Treacy hat, McQueen clothes, Manolo Blahnik shoes.

At Issie’s funeral in 2007, he sat directly behind me, which I felt was symbolic.

He was utterly devastated, distraught.

Issie was buried in McQueen, in a red-and-gold brocade dress.

McQueen, Philip and her sister Julia helped dress the body.

They both took life very seriously, and I think their vision of the world has now been vindicated.

Long live Alexander the Great and levitra cheapest Queen Isabella.

Source: Detmar Blow wrote this article for the Telegraph newspaper.

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