Who Runs the Fashion World … Girls!

From the Godfathers of fashion such as Charles Fredrick Worth and Christian Dior, to modern male fashion creative such as Marc Jacobs and Alexander McQueen, fashion is an industry that men have largely populated and been running for decades. Even though their clientele is dominated by women of all shapes, sizes and backgrounds, the inside of the fashion world has been operating with male directors at the helm for many eras. But slowly women have started to take the reins, and are making their mark on the runway. You only have to look at the recent shows form Chanel and Dior, to see that these women who have been behind the scenes for many years, have finally the opportunity to run it their way, and what magnificent results we have seen. When watching the Haute Couture show of Fall/Winter 2019/20 by Chanel, I sat in awe at not only the genius of the location and set, but the fashion itself was possibly the greatest I had seen. This show pushed me to research the woman who now sits at the helm, and so that is what this blog shall endeavour to uncover.

The recent passing of the master of fashion Mr Karl Lagerfeld, as tragic as it was, left the door open for his right hand assistant to step into the limelight. Having worked alongside Lagerfeld for more than thirty years, Virginie Viard had slowly been stepping out form the shadows in recent times. Only days after the great man passed away in February this year, Chanel announced that Viard would take over as Creative Director. Born in Lyon, France in 1962, Viard grew up with fashion in her veins. Her grandparents were silk merchants, and Viard went on to study theatre design at the Cours George. At completion of her studies, Viard gained employment as an assistant costume designers for Dominique Borg. Then in 1987, Viard began an internship at Chanel, and as they say, the rest is history! Forming a close relationship with Lagerfeld, the two worked well together, and when Lagerfeld left Chanel to join Chloe (for the second time) in 1992, Viard went with him. Then in 1997, the pair returned to Chanel, with Lagerfeld heading up the Couture end of the business. In 2000, Viard became the creative director of the studio, and oversaw Ready to Wear, Haute Couture and accessories alongside Lagerfeld. Lagerfeld himself described this talented woman as not only being his right hand, but his left hand too! The pair were inseparable for over thirty years in the fashion world.

With her signature punkish look of dark kohl rimmed eyes, solid bangs and all black wardrobe, Viard manages to create a look very different to her own. Her first solo Haute Couture collection, was breathtaking. Set in the luxurious library of Madame Chanel, the show was everything you would expect from Chanel. Signature fabrics of tweed, boucle and hound’s-tooth were widely used, and the unbiased colour pallet of black and white was ever present. This season saw splashes of vibrant colour and metallic threads also featured throughout, and garments dazzles with sequins and feathers. The silhouette was unmistakable feminine, featuring waistlines and full skirts. A nod to the original style presented itself in the footwear displayed by the models, with tailoring and structured design showcasing what Chanel is all about. The collections was sleek, elegant, luxurious and sexy. Viard’s star shone bright as she made her debt as the first female creative director since Coco Chanel herself. While we may have lost the grand master in Lagerfeld, the woman who is now in control is nothing short of spectacular!

Another woman who is leading the way in the modern world of fashion is the creative director of Dior, Maria Grazia Churi. Again woman are making themselves heard, with Churi being the first female ever to be in charge at Dior. Churi has been in the rag trade for many years, starting out at Fendi in 1989 before moving onto Valentino. Born in Rome, Italy in 1964, Churi’s mother was a dressmaker, so the world of fashion has been in her blood from day one. Completing her studies in fashion in Rome, the naturally talented Churi has produced some of the greatest fashion moments this decade has ever seen. Joining Dior in July 2016, Churi is known to promote political and social issues through her work. The slogan “We should all be feminists” which dominated Dior’s Ready to Wear show of Spring 2017 is likely to be one of the most recognised and remembered statements made in fashion.

Churi’s most recent work for the Haute Couture show of Fall/Winter 2019/20 was a mix of darkness touched by the beauty of floral. The models entered into an arena that was somewhat gothic and moody, before moving into a space filled with bright floral and springtime vibes. The look was architectural, structured and metallic. Black featured heavily as a colour, with detailing and accent colours also featuring. Lace and net covered some of the models, who dazzled in garments with nipped in waistlines and full skirts. Bare shoulders, belted waists, leather and feathers were standout features on some of the collections boldest pieces. Churi surely made it known that art is fashion, and fashion is art!

In a world that is ever changing, fashion will always play a significant role. As more women designers step out of the shadows and into the limelight, the world of Haute Couture looks incredibly bright. These women are not afraid to walk to the beat of their own drum, but remain respectful to the men who made these fashion labels into the empires we know them as today. I for one cannot wait until the next round of catwalk shows to see what other inspiring and beautiful fashions come from the grand houses of Chanel and Dior.

Love Always, Anastacia Rose xx

 

 

Vintage fashion at it’s finest – Edward Molyneux

For someone who loves fashion and all things about the history of fashion, this next designer is someone who I knew little about. Surprising, since my favourite eras in fashion are The Jazz Age and The Golden Age, which this designer fits right into. It’s slightly embarrassing that I have only recently discovered the true talent and beauty of British born designer Edward Molyneux, but I’m so glad I did. I have seen many of his pieces exhibited in shows I have been to, but never knew anything about the man behind them all. It was difficult researching this genius of design as many of my vintage fashion books glazed over him as a designer. But I kept digging and found some stunning images and information on his work. So if you’re keen to know more about another grand couturier from the 1920’s, then join me on this next stylish instalment on Anastacia Rose Blog!

Captain Edward Molyneux was born in London on 5^th September 1891 as was of Irish decent. The story of his early childhood remains much untold. When he was sixteen, Molyneux dropped out of school after the death of his father, to begin working to support himself and his mother. Molyneux had a keen interest in painting, and it was this form of art that he initially pursued. Working as a sketch artist, Molyneux entered a competition with a sketch of an evening dress. He won, and his career in fashion was born. This award introduced Molyneux to the prominent and influential Lady Duff Gordon, who hired Molyneux to work for her in her English fashion house Lucile. Here Molyneux nurtured and crafted his own talents and styles, and became a leader in the style game.

After gaining such valuable experience and knowledge, Molyneux branched out on his own, and established his own house in 1919 in Paris, with a philosophy based on seamless elegance. The designers’ success rose quickly in the nineteen twenties, with women from all walks of life recognising his name. From the aristocratic women of wealth and heritage, to the café society flappers, Molyneux mixed with them all, and was happy to dress any woman who was tall and slender. His creations were not showy, with emphasis placed on the cut and fabric that was used rather than embellishments. His designs were not only chic but also wearable, with a refined elegance that capsulated the Jazz Age. When the decade evolved into the 1930’s, Molyneux adopted the bias cut, with his sheath gowns a display of sculptural simplicity. One of his most recognised outfits was that of a backless gown, bias cut, and finished off with a fur draped effortlessly over the models shoulders.

The 1930’s saw Molyneux cross paths with some famous clientele, which only emphasised his position in the world of fashion. He designed costumes for the stage during this decade, and also the wedding gown and trousseau for Princess Marina of Greece in 1934. The colour pallet in which Molyneux dabbled was most simplistic, with black, navy, grey and beige featuring heavily in all his collections throughout time. Also in the 1930’s, Molyneux displayed luxurious coats made of velvet, and was one designer who adopted the matching dress and coat look of the era. Towards the end of the decade, Molyneux started to experiment with changing the silhouette of the waist, making it narrower and more fitted to the models own features. This is a look that was largely successful during the 1940’s thanks to Dior’s “New Look”. With the radiant success of his House, Molyneux was able to diversify and introduced to his company a line of furs, lingerie, millinery and perfume. All were a success.

With the looming threat of a Second World War, Molyneux escaped Paris for London. Here he was conscripted into the British Army, where he served as an infantry captain. He served his time in the army, and suffered health issues as a result. He lost the vision in one of his eyes. Post war, Molyneux returned to Paris to try and pick up where he left off. Unfortunately due to his ailing health he could not return to the greatness that he had been known for. In 1950, Molyneux retired to Jamaica, and watched the world of fashion flourish in a new direction. Some years later, in 1965, Molyneux flirted with the idea of making a comeback. For a brief time he came out of retirement, but much had changed in the realm of fashion and Molyneux no longer had the passion or the energy to reinvent himself.

At the age of eighty three, Edward Molyneux passed away in 1974. During his time in the luxury world of couture, he achieved greatness. His designs have stood the test of time, and now take their place in the history of fashion. They are inspiring, elegant, timeless and breathtaking in their simplicity. A sketch artist, war veteran and fashion design. It’s a resume that reads well and honours the success of this great man. At a time when the French largely dominated the runway, this quiet British achiever well and truly left his mark. You just have to search a little deeper to find him, that’s all!

Love Always, Anastacia Rose xx

“The things we do for Fashion” – Anastacia Rose and Entourage

I have been in the world of fashion now for fifteen years and the only thing that is consistent is that it is forever changing. Fashion evolves from one season to the next, from one decade to another, and then we see it come full circle with trends we once loved, being revived with a modern twist and fresh direction. My own tastes in fashion have changed over the years, and I have certainly been influenced by what other designers are doing. Throughout this time I have never lost my passion for this beautiful form of art. I have always been and will remain a strong advocate for fashion, the freedom it can provide you and the creativity that it inspires. Recently I decided it was about time that I make some of my work accessible, and to showcase to everyone what I do and why I love it so much. In this blog you will discover some of my favourite pieces that I designed and produced, with professional photographs of me getting my vogue on to show the world who Anastacia Rose really is, and just what she’s capable of. So I hope you follow on and enjoy this insightful journey into my own realm of fashion and all that shines within.

 

Outfit One “My Fair Lady” – Inspired by the fabulous fashion era of the nineteen fifties, this ensemble would have to be my favourite. Now I know a mother is not supposed to favour any of her children, but this one just edges out all of the others! I found a vintage Butterick pattern for this dress in my local haberdashery and instantly fell in love. The nineteen fifties has always been one of my favourite eras of fashion, with its full skirts, nipped in waists and overall feminine outlook. The dress in constructed with a self-lined bodice that gathers on a yoke at the neckline and forms a scoop back. With an exaggerated waist due to the fullness of the skirt below, this dress bellows out to fall at mid-calf. The skirt is a full circle, with an attached petticoat constructed from five meters of netting. The main fabric that I used is a cotton blend with a textured red and white stripe. I think the fabric adds to the dramatic look of the outfit, with the different angels of the stripe inducing intrigue in the eye of the onlooker. My Fair Lady is accompanied by a crop jacket with a dolman sleeve and collar. Accessorised on this occasion by a wide leather belt that ties into a bow at the centre back. Also complementing the outfit, is a millinery creation consisting of a plaster skull cap covered in vibrant red silk. Accented by a black ostrich feather and hat veil, the piece title “Anastacia”, is a tribute to the great art of millinery and one of the very first pieces that I ever made. Completing the outfit are the stunning shoes from Irregular Choice which while they may not be all that practical to walk in, come up looking a treat when photographed! My Fair Lady is an outfit that I love to wear, and have done so to local Fashion on the Field events and also to a wedding. It is everything that I love about this industry. It shows my true character and love for all things vintage.

 

Outfit Two “Mademoiselle Flora” – The most recent piece to my ever growing collection, Mademoiselle Flora is a piece I was commissioned to make for a local art festival. The piece represents the beauty and colour of the rural area which I live in, with its colours evolving from one season to the next. I live in a part of Australia that has four distinct seasons, with the native flora changing dramatically throughout the year. From vibrant yellows and greens in the spring, through to deep and dark winter hues, our landscape forever evolves. Mademoiselle Flora is constructed from a polyester and cotton body, with a nylon netting forming the overskirt and shoulder straps. The floral tribute which flourishes across the dress, has all been made by hand with many hours of work involved. Constructed from wool, cotton and silk, the embellished flowers each have a vintage button centre and have been strategically sew onto the garment. Mademoiselle Flora is overtly feminine, slightly flirtatious and lots of fun. Accessorised by some fantastic emerald green shoes made from patent leather and suede, this ensemble will certainly turn heads and attract appreciation from any true fashionista.

 

Outfit Three “High Society” – This two piece ensemble is another outfit that I love to wear. The dramatic style of the skirt once again pays tribute to my love of vintage style, but has been constructed in a more modern way. With a wide waist band, the skirt obtains its fullness from separate panels sewn together and pleated at the lower seam line. With hidden hip pockets and a centre back zip, this skirt is so comfortable to wear. The fabric that I used is a cotton blend, with the large floral pattern in a beautiful array of colours, giving the garment an explicitly feminine style. Falling to mid-calf, the length is true to the vintage style that inspired it. The simple yet striking top which accompanies has been produced from a polyester fabric in a deep aubergine hue. The visible metal zipper adds a modern touch to the outfit, as does the crop length with allows the observer to get a full breathtaking view of the skirt, and a slightly sexy vibe to the porcelain skin peeking out from underneath. For this photo shoot I modelled two different style headpieces. The first was purchased from a local fashion business, and was on trend with the boater style hats worn to the Spring Racing Carnival of 2018. In blush pink, this piece tied in beautifully with a clutch of the same tone, and gave the ensemble a slightly French Riviera feel. The second head piece was one I made and wore with the outfit originally. In tones of rose gold, the bandeau style was centred around leather flowers with a pearl centre, gold leaves and black veiling. The aubergine pumps worn with the outfit tie the whole ensemble together perfectly, and give High Society a true Grace Kelly feel.

 

Outfit Four “The September Affair” – Inspired by the flourishing garden displays of the Spring Racing Carnival in Australia each year, The September Affair is another outfit in the Anastacia Rose wardrobe that has a vintage feel to it. Once again it is the fabric that is the real hero of this piece, with the detail on the jacket also making a statement. This design came from a vintage Vogue Pattern from 1951. The original pattern was a one piece dress with a belted waist. I chose to alter it into a two piece ensemble with an extra panel on each side of the jacket to allow for a slightly more relaxed fit. The jacket has a wide turn down collar, and sleeve cuffs that turn up and are held in place by a vintage black and gold acrylic button. The same buttons feature down the length of the centre front opening. Top stitching finishes off the edges of the jacket. The skirt is made up of six separate panels all joined together to give it a flared style. The fabric I used for the skirt is actually a home furnishing fabric and has a ridged texture to it. The stunning floral print in its vibrant spring time hues pay tribute to the blooming roses at Flemington each year. The September Affair is accompanied by a head piece fit for any race day. Made from a sinamay base in matching fuchsia, the piece also incorporates flowers made from the same fabric as the skirt, and perches on the head slightly tilted forward with a hat elastic. To complete the look, a cane bag and tan peep toe block heels were added and give The September Affair a fresh look on a vintage romance.

 

Outfit Five “Midnight in Paris” – The name for this most stunning displays of couture arises from the deep navy silk dupion that it was created with, and a tribute to the grand skill of couture garments born in France. This is a garments that I am most proud of. It was a piece that I designed and produced when I was at university learning the art of handmade luxury. Midnight in Paris was custom tailored to fit me like a glove, with the internal corset structure giving the bodice shape and form. The bulk of the internal layers have been sewn by hand to ensure true fit and great finish. The plunging neck line causes the eye to draw down onto the voluminous skirt below. The cut out back is also a point of difference and shows off the slender spine beneath. With internal metal boing on both the front and back of the bodice, this gown will never go out of shape, or style. The skirt is made from many meters of silk, with layer upon layer of tulle underneath, edges being finished off by silk ribbon. A cotton layer stays closest to the skin to ensure the model has some degree of comfort when wearing such a magnificent ball gown. The pinch effect that covers the skirt was created by literally pinching the fabric together to create a fullness, and hand sewn into position. The centre of these features was finished with a crystal bead. The gown falls long to the gown, has a side encased zip and small covered button on the centre back. Midnight in Paris is not the kind of dress one can easily slip on, and requires an entourage of dresser to assist. But when wearing such a grand ball gown, one should have an entourage in toe! This outfit does not need a gaggle of accessories as her true beauty is more than enough, although a handsome man in a well cut suit would never go astray!

 

Outfit Six “The Emerald City” – The most recent of pieces added to the collection, The Emerald City is surely a showstopper. The tailored blazer is a striking piece due largely to the glorious fabric in which it is made from. The woven peacock textile with its shimmering golden threads, was a splendid find in an unexpected place. The jacket has both an upper and lower section which allows for better fit and a different design feature. The black silk collar which extends into a front lapel, adds a suave tuxedo feel to the piece, and finishes neatly at the centre front waist. The Emerald City has a hidden talent, showcasing a rich indigo lining which peeps through when the wind blows. With no front fastenings, the wearer may feel exposed if not accompanied by some fabulous under garments. On this occasion, The Emerald City was flaunted with a fitted leather skirt and classic black pumps, but can also be toned down and worn for a more relaxed vibe with denim. Unashamedly sexy and somewhat seductive, this piece is no doubt a knockout!

 

I hope that you’ve enjoyed stepping into the world of Anastacia Rose for an expose on all things fine in fashion. I will forever be influenced by the Golden Age of Couture, by Paris and its art, and by Dior and his ‘New Look’. Fashion is supposed to be fun, it’s supposed to evoke feeling, and I believe it should always be first. Whether you’re at work, at play or doing the supermarket run, one should always try to look their best. Fashion is history, fashion is the future, and fashion is who I am. I’m excited to put my designs and talent on display for all to see, and I hope that you will consider Anastacia Rose when you next need something fabulous to wear. I’ll leave you with one of my favourite quotes – “When you work to please others you can’t succeed, but the things you do to satisfy yourself stand a chance of catching someone’s interest” (Marcel Proust). Always be true to yourself.

Love Always, Anastacia Rose xx

 

“Comme des Garcons is a gift to oneself, not something to appeal or to attract the opposite sex” – Rei Kawakubo

So it’s pretty obvious if you’ve been reading along with my blogs, that I love vintage fashion. The greats of Dior, Chanel, Balenciaga, Vionnet and Poiret, are all influencers on my own tastes in fashion. I fall in love with master tailoring, sublime natural fabrics, handmade garments and embellishments, and anything that comes under the umbrella of chic, classic and feminine. My style icons are Audrey Hepburn, Grace Kelly, Jackie O and Sophia Loren. I love vintage films starring Marilyn Monroe, and am a sucker for classic novels by F Scott Fitzgerald. So when researching who I would dedicate my next blog to, it came as a surprise to me, as I’m sure it will be to you, that I’ve chosen to write about prominent Japanese designer Rei Kawakubo and her eponymous label Comme des Garcons. I decided to delve into this world of contemporary fashion and design as it’s not one that I’m accustom too, but should probably know more about. It’s been interesting to learn about the influence of Japan in fashion, and somewhat eye opening to discover all the imaginary things that Kawakubo has achieved in her career. So if you’re keen to know more about this brand and the statement it has made on modern fashion, then join me on this colourful and creative journey.

The label first gained cult following when it debuted at Paris Fashion Week in 1981. It was different to anything the Paris runways had seen before, and gave a whole new direction on eighties fashions. The label was founded and is still run by Japanese innovator Rei Kawakubo. Kawakubo was born in Tokyo in 1942, and never formally trained in fashion. Studying fine art and literature at Keio University in Tokyo, Kawakubo first went into the advertising industry before finding her niche in fashion. She launched her label in Japan in 1973 and soon engaged a large following for her brand at home. Introducing a menswear line a few years later, Comme des Garcons became greatly successful in its home land. When invited to show in that 1981 fashion week in Paris, the world was greeted with a significant Japanese influence. Showcasing monochrome colours, random elastication, irregular hemlines and crinkled surfaces, Paris was awestruck at this new take on fashion. Dubbed “Oblique Chic” by Vogue, Comme des Garcons had stamped its name all over the runway.

When researching this blog, it became obvious early on that Kawakubo walked to the beat of her own drum. Becoming known for innovative and unconventional pattern cutting, the collections which Kawakubo released were always intriguing and curious. Some of the well know ensembles that bear the Comme des Garcons label feature random ruching, asymmetric seams, unfinished edges and shapeless silhouettes. The brand has an unorthodox appeal, but is greatly accepted by many. The garments are designed and made in Japan, with the flagship store located in Aoyama, Tokyo’s high fashion district. Some of the labels main lines are still handmade, hence their production still being based in Japan. This aspect of luxury handmade goods is reflected in the high price tag, but guaranteed in the quality of craftsmanship that will outlast most other garments produced these days. Other Comme des Garcons boutiques are located in Melbourne, Manila, Beijing and Seoul.

The mass appeal of Comme des Garcons has allowed the brand to grow to enormous stature. In 2011 it was estimated to employ eight hundred staff, and is now reported to turn over $280 million dollars per year. Kawakubo and her brand have since established many other lines that come under the Comme des Garcons family. There is approximately twenty other lines, including Noir, Homme, Shirt (mainly producing shirts), Sport and Black. A street wear line was also introduced and is sold in market based department stores worldwide. Dover Street Market was first established in London, and was home to the diffusion line ‘Play’. This collection is factory produced to reduce costs and to keep up with the demands of ready to wear street culture. Comme des Garcons has also nurtured many collaborations over the years, including works with Nike, Levi’s, Louis Vuitton and H&M. Celebrity followings are large as well, and include Ellen, Kanye, Lady Gaga, Bjork and the late and great Karl Lagerfeld.

Like many other fashion houses of the time, Comme des Garcons also has a range of fragrance. Being agendered, the perfumes are somewhat unconventional, listing ingredients such as oxygen, metal, sand dunes, nail polish and burnt rubber. Many of the designs from Kawakubo also represent the mix of genders, fusing together masculine tailoring with feminine corsets and flowers. Certainly a modern take on this ever changing and evolving world we live in.

In 2017, the Metropolitan Museum of Art in New York paid tribute to the contribution Kawakubo has made to the fashion industry. With an exhibition displaying some 150 ensembles, the white maze like curation was a stunning success. Largely recognised now in fashion circles by the heart shaped logo with two eyes, Comme des Garcons continues to surprise and elevate the world of fashion. From predominantly black and distressed designs to their perplexing cuts and minimalist displays, Comme des Garcons has inevitably established its place among fashions most elite brands and designers. Whilst it may not be my cup of tea, I can certainly pay credit where it is due, and Rei Kawakubo is a fashion master.

Love Always, Anastacia Rose xx

 

“To me, clothing is a form of self-expression – There are hints about who you are in what you wear” – Marc Jacobs

If you’re looking for a designer that’s got uber amounts of flair, passion for the dream, a willingness to never give up, and can constantly invent styles and silhouettes that are super fresh, then you should check out Marc Jacobs! The boy from New York City who had a dream of a fashion empire and made it all came true, Marc Jacobs has certainly found his place amongst other elite names of the industry. Recent collections have shone with colour, texture, attitude and sass. The Marc Jacobs label seems set to remain a constant in this every changing world.

Born and raised in New York City, Marc Jacobs has never been your typical American boy. Born on April 9^th, 1963, Jacobs grew up with the love and affection of both his parents, until at only 7 years old, Jacobs father tragically passed away. After such heartbreak, his mother did not cope well, and had a string of failed marriages in the years to come. This involved Jacobs and his siblings moving around a lot, and it wasn’t until Jacobs decided to move in with his paternal Grandmother, that finally as a teenager the boy had some stability. Living on the Upper West Side of Manhattan would have been an eye opening experience during the seventies and eighties, and it was while living here that Jacobs enjoyed much freedom and frivolity. Jacobs Grandmother was very supportive and nurturing of her grandson’s talents, and at fifteen years old, Jacobs started working in an upmarket fashion boutique. He was a natural in the industry and it was obvious from here that his career was in fashion.

In the years following, Jacobs enrolled at the prestigious Parsons School of Design in New York City, and was able to showcase his creativity and talent. He was strongly supported the whole way by his Grandmother, and when Jacobs graduated in 1984, did so with many accolades to his name. A few years later, and a few collections under his belt, Jacobs was employed as the head women’s wear designer at Perry Ellis. He released a couple of collections for Ellis, but in 1993 when he launched a look focused on grunge that was not well received by the label, Jacobs decided it was time to go solo.

It didn’t take long before the Marc Jacobs label proved to be a success, and other fashion houses stood up and took notice. Supermodels Naomi Campbell and Linda Evangelista showed their support towards Jacobs by walking in his shows for free. A few years later, and the luxury brand Louis Vuitton came knocking. Jacobs was signed up as creative director of the brand, and he released the house’s first ever ready to wear line. This new role, as well as keeping his own label up and running, proved stressful and dangerous for Jacobs. He turned to drugs to try and get himself through this period, and after battling with an addiction for a couple years, checking himself into rehab in 1999.

His time at Louis Vuitton was however successful. In ten years he turned the label from mainly being known for its luxury luggage goods, into a powerhouse for modern fashionistas. During this time Jacobs also worked tirelessly on his own brand, launching Marc by Marc Jacobs in 2001. His label now consists of three lines in total, two for adults and one for children, as well as fragrance, cosmetics, accessories, books, stationary and eyewear. Seeing the success of the Marc Jacobs empire, LVMH bought a stake in the label.

In 2010, Jacobs and his partner Lorenzo Martone, married in St Barts. In 2012, Jacobs was honoured with an exhibition of his work, which was held in Paris and lasted for six months. He is reported as saying this was a very emotional time for him. After sixteen years at the head of Louis Vuitton, in 2013 Jacobs left his post. He had succeeded in positioning the brand amongst fashions elite, and made it recognisable the world over. Jacobs has been honoured for his contribution towards fashion many times over, receiving numerous accolades from the Council of Fashion Designers of America.

Known as the “Boy Wonder” to some in the industry, Marc Jacobs has certainly made his mark. From his debut on the runway with a collection of sweaters, Jacobs has reached heightened success in his relatively short career. Who knows what’s next for this genius designer, but the world shall be waiting for him.

Love Always, Anastacia Rose xx

“Trendy is the last stage before Tacky” – Karl Lagerfeld

One of the most recognised faces in the fashion industry would have to be that of the man with the long white hair, black sunglasses and starched white collar. Known the world over, Karl Lagerfeld has sustained himself and his brand as a leader in high fashion. He has been in the industry for decades, and continues to break ground through his innovative designs, bold choices and daring outcomes. Heading up not only his own label, but many other prestigious brands over the years like Chanel, Fendi and Chloe, Lagerfeld is a name everyone who’s anyone loves to talk about.

Mystery has shroud the early life of Lagerfeld over the years, mainly because the man himself has kept an air of intrigue. Believed to be born on the 10^th September 1933 in Hamburg, Germany, Karl Otto Lagerfeld lived an affluent life with his two parents, one sister and one half-sister. His father bought wealth to the family when he introduced condensed milk to Germany (I suppose someone had to do it!), and the family flourished from the profits made. His mother was a violinist, and the household was full of intellectual conversation and religious philosophy. When the reign of Hitler took hold during the Second World War, Lagerfeld and his family moved to rural Germany and were greatly protected from all the horrors of the Nazis. Lagerfeld has claimed that it wasn’t until later in life that he truly understood the pain and suffering inflicted on many during this time.

At the conclusion on the War, the Lagerfeld family returned to Hamburg, and Karl was finally able to immerse himself into the world of high fashion. It was something that he had been inclined to since childhood, cutting pictures out of fashion magazines and keeping them for himself. At only fourteen, with the blessing of his parents, he moved to Paris. His passion was truly nurtured during this time, and Lagerfeld continued to draw and sketch as much and as often as he could. Two years later, he won a competition with his designs for a coat, and the world of fashion was suddenly beckoning. It was during this early time in Paris that Lagerfeld met and befriended fellow design ingénue Yves Saint Laurent. Some big names in French couture began to recognise the talent Lagerfeld naturally possessed, and it was Pierre Balmain in 1955 who first hired him as a junior assistant. Lagerfeld soon proved his worth, and began to apprentice for Balmain. He stayed here for three years. Lagerfeld soon decided to venture out on his own, and in 1961, launched his own label. The Karl Lagerfeld brand is still going strong today, even after he sold it to Tommy Hilfiger in 2005, Lagerfeld still maintains full creative direction.

Other iconic fashion houses that Lagerfeld has been in charge of include Chloe, Fendi and unmistakably Chanel. He joined Fendi in 1967, and the following decade began his time at Chloe. But possibly the most renowned work that Lagerfeld has done is during his time is at Chanel. Relaunching the label in the 1980’s, Lagerfeld became a huge star. He returned Chanel to the top of the fashion empire with his ready to wear line, and has ensured the success of the French label.

During his time at Chanel, Lagerfeld has continued to grow the brand through innovation and risk taking. While he continually pays homage to the great Coco through the use of tweed jackets and skirts, Lagerfeld has bought this staple into the modern world by using colour and embellishments. He has also revived the trend by pairing it with sneakers instead of stilettos. The use of colour is something that the Chanel label had not seen much of until Lagerfeld took over, and he continues to produce garments in an assortment of hues depending on what trends he chooses for the season. Florals are another iconic look that Lagerfeld uses at Chanel, creating a somewhat romantic air to his collections. An unmistakable embellishment of a modern Chanel outfit would have to be the use of pearls, diamonds and chains. Lagerfeld uses these notions to accessories his couture outfits, as well as shoes, handbags and jewellery. The couture shows which Chanel take part in every fashion week are nothing short of epic. The scale of the production is something out of this world, with Lagerfeld dreaming up runway shows that to anyone else would seem impossible. Do yourself a favour and watch some of the recent Chanel productions, you will not be disappointed!

In recent times, Lagerfeld has turned his hand to photography and to film and costume design. He has designed the costumes for stars such as Madonna and Kylie on some of their recent tours. Lagerfeld has also collaborated with the department store Macy’s to create a capsule collection in 2011. Known as the man who continues to reinvent fashion and couture, Karl Lagerfeld isn’t going anywhere, anytime soon. He continues to amaze us all with his Avant garde designs, breathtaking shows, and innovative style. He is bold, he is brave and he is truly a gift to the world of fashion. Lagerfeld is a name that will go done in fashion history as one of the best!

Love Always, Anastacia Rose xx

The most wonderful time of the year!

So anyone who knows me well, or has known me for a long time, will know how much I love Christmas. For me, it truly is the most wonderful time of the year. Christmas day has been a significant day in my family for as long as I can remember. It’s a time when we all come together, put our differences aside and enjoy each other’s company. It’s a time when we all laugh together, we cry together, we eat and drink too much together, and we just be together. Many families celebrate in different ways, with different traditions, but the common factor is family spending time together. So what is it about the festive season that inspires so much joy for so many?

As children we were spoilt rotten by all our family members with an abundance of gifts. It was all about the presents, who got what and how come he got more than me?! It was about catching up with cousins, playing with our new toys, eating chocolate before breakfast, and trying to figure out how Santa got into the house when we didn’t have a chimney. He has magic dust by the way for those of you still wondering! Some of the greatest memories I have about Christmas past, are looking at all the houses decorated to the nines with Christmas lights. It was checking out everyone else’s Christmas trees and maybe, just maybe, there might be a gift with my name on it underneath. Christmas was also learning that I didn’t like fruit cake, but love Christmas pudding, go figure!! But as the years ticked by, and Christmas came around quicker each time, the true meaning came to light.

Christmas isn’t just about that one day in December, but it’s so much more. It’s no longer about how many presents we each get, although it’s a pretty magical feeling watching children unwrap theirs’s on Christmas morn. The true spirit of Christmas is fabulous. It’s about love, it’s about light, it’s about being grateful, it’s about kindness, it’s about happiness and it’s about creating memories. The spirit of Christmas lives within us all, although it’s harder for some people to find than others. As much as I still love looking at Christmas lights, putting up all the decorations, wrapping presents (yes, I love to wrap gifts!) and eating way too much, I’ve learnt to be thankful for everything I have. Christmas time makes me reflect on everything that’s happened throughout the year. Some of it’s not always good, but then life is never perfect.

So here’s a few things that I will be reflecting on this festive season……

Love. The love that I have for other people, family and friends. The love that people give me, and the love that has been taken away from me.

Joy. The joy that I’m blessed to have every time I see the gorgeous smiling faces of my two precious nieces.

Kindness. The kindness that has been shown towards me throughout this year during difficult times. And how I should be kinder to others around me.

Happiness. Learning to be happy with what I have, who I am and what I can give.

Wealth. Realising that being rich is not a financial thing, but about the wealth of all of the things above.

Friendship. Being grateful for the few amazing friends I have in my life, who get me no matter what and who will always have my back.

Laughter. It truly is the best medicine and we should all have more of it in our lives.

This festive season I’m bound to drink a few too many gins, eat more chocolate that I should and spend too much money. But what the hell!! You only live once so it’s worth doing well. I hope this Christmas you are able to experience some of the things I’ve mentioned above. I hope that you create memories to last a lifetime. I hope that you give love and feel love like you’re worthy of. I hope that you get Christmas carols stuck in your head. I hope that you dress on point and look fly as hell walking around your nans kitchen. I hope that your beverage of choice is on sale so you can stock up. And I hope that you discover the true spirit of Christmas, whatever that may be for you.

Love Always and Merry Christmas, Anastacia Rose xx

 

Expectations … Fuck ‘em!!

So a few months ago I wrote a blog that was equally the easiest and hardest thing I’ve ever written. It was easy because it came from the heart, it was about me and my experiences. It was the hardest thing I’ve ever written also because it was about me, and I was exposing myself and my thoughts and feelings to everyone. I was unsure if I would ever publish the blog, but the more I thought about it and the more I read over it, I loved it, and wanted to share it. So I did. And what happened? What reaction did I get? Nothing! That’s right, absolutely nothing. No walls came crashing in upon me, no bombs went off and no one died. Nothing bad at all happened. My fears about writing about myself and my own experiences went out the window, because nothing happened. In fact, no one said anything, good or bad! There was no “great read”, “loved it”, “thanks for being so open”. There was not even a recognition from those friends or family members that may have read it. So maybe they didn’t read it after all, and just said they did! Or maybe they don’t actually give a shit, or they think I’m full of shit and wish I’d just shut up!! Either way, nothing happened. Moral to this story, don’t let the fear of expectations stop you from doing something, because most of the time, people don’t give a shit what you do.

I’ve been trying to come up with blog content for the last few weeks now, but everything I start to write just doesn’t feel right. I get distracted, have lost interest and haven’t been passionate about any of it. So I’ve decided to turn my hand to penning another blog that’s straight from the heart, no research needed! I’ve been thinking a lot lately about expectations and what I really want. It’s something that’s come up a few times recently, at work, in my personal life, and in my struggles with anxiety. Why is it that we place so much pressure on ourselves to achieve so much? It’s like we’re programmed to not be satisfied and grateful for what we’ve got. Constantly comparing ourselves to other women, friends and family members who are at different stages in life. There’s an urge to feel like we’ve achieved greatness, like we’re going to make the world a better place by doing something spectacular. Why can’t we just be grateful for what we have here and now? Take a moment to think about all the wonderful things you have in life at this very moment and just smile.

Earlier this year I learnt the importance of taking time for myself with a breath and a pause. Its helped me immensely! At any point during the day when things start to get overwhelming, it gets crazy busy at work, you feel like there’s not enough hours in the day to get things done. Just stop. Take a moment for yourself, and breath. Big belly breaths. And when you let it out, just smile. So simple and so effective, you can feel the tension in your body begin to release immediately. It’s something that I do every day, and it truly works wonders. Taking time for yourself doesn’t have to be any sort of grand event. Something simple like half an hour to read a book, listen to some tunes, have a coffee in the sunshine, exercise, write about your feeling and thoughts, or a quiet vino on the terrace after a long day at the office. It’s important that we do these things for ourselves to ensure we have good health and happy minds.

On my own personal journey of self-discovery this year I’ve learnt a lot about myself, and what I need. I’ve come to accept that those hopes and dreams I had at fifteen are probably not going to happen, but that’s okay. Because now in my early thirties, I have a whole new set of hopes and dreams that actually sound a lot more appealing! No longer are they things like being famous, being filthy rich, and having a drop dead gorgeous husband, a mansion, and my own business. Now its things like good health, simple happiness and fabulous friendships that are the dream. It’s about being grateful for what I have now, appreciation for the amazing people in my life and trying my hardest to stay in a positive state of mind. I know it all sounds a bit cliché and like a lot of bullshit, but it is real. It’s these things in life and not the expectations I had on myself half a lifetime ago that are important.

And getting back to expectations … Fuck ‘em!! Placing expectations on someone or something is the biggest waste of emotional time and wellbeing you could have. So stop doing it! Stop listening to what other people think you should or should not be doing. Live your life the way you want to live it. Yes there is a time and place when expectations are appropriate, like task based performance at work, or when purchasing a product or service, but not placed on your personal self by someone else. If you’ve got people in your life who are constantly doing this to you, then I’m sorry but tell them to fuck off! You’re better off without them. And stop being so hard on yourself. It doesn’t make things any easier, it only makes you feel worse. Lighten up a little bit, have some fun, don’t stress if you don’t get the floor moped this week, you can do it next week instead. The world is not going to end if you cut yourself some slack. Remember that vino on the terrace, go have one now!

Being the age I currently am, and I’m proud to say that’s thirty two, I have none of the things in my life that society expected of me. I have no husband, no partner even (but I may have a cheeky lover!). I have no kids, no dogs, but I do have a stylish goldfish called Gwendolyn! I have no mortgage, I rent. But I also have no debt, which is a plus! I didn’t expect that my life would be in this place at this time, but here I am. And I’ve accepted it. Finally!! I genuinely do not care what others think of me now. You don’t like my style, my sass, my “get the fuck out of my way” attitude. That’s your problem. You can accept me for who I am, or you can move on. Don’t judge me, or anybody else, for the way they chose to live their life. Just accept them for who they are. We as women need to start supporting each other instead of tearing each other down. Don’t scoff at another woman’s success. Don’t put her down because you think she should be doing something else. Don’t make excuses. And stop whinging! Stop bitching as well! Do not judge someone else until you’ve walked a mile in their shoes. Great advice from whoever came up with that quote!

So where to from here? I have absolutely no idea. But here’s a few things I do know. It’s time to accept. It’s time to be brave. It’s time to be bold and go after what I want. It’s time to start sharing my struggles and let people in. It’s okay to ask for help. In fact, it’s the best thing you can ever do for yourself. We can’t be Superwoman ever day!! It’s okay to speak my mind. And it’s more than okay to live my life the way I chose to. If I want to spend $1600 on a pair of Jimmy Choo’s, you better believe I’m going to! Life is what you make of it. So make it a damn good one. We only get one shot, and it’s way too short! So live a fuck yes life! Always dress like it’s the best day of your life. Be a flamingo in a flock of pigeons. Love like you’ve never been hurt before, and know that it’s okay to be a glowstick. Sometimes we have to break before we shine!

Love Always, Anastacia Rose xx

 

“A little party never killed no body” – F. Scott Fitzgerald, 1926

Could you ever imagine living life in a totally different era to the one we are in now? Be it from the past or something from the future, fashion, culture and lifestyles are constantly evolving. From one decade to the next you can see significant changes and developments in everything from language and clothing to technology and construction. This world is for ever changing! But if I had the opportunity to be transported back in time to an era of fun, flirtation and famous fashion, I’d definitely take a trip to the 1920’s.   In only two more years we will once again be living in the twenties, and I wonder if any of the glorious trends in fashion will be revived? I for one would love to dress like a flapper, with my feather boa floating along behind me, gin in hand, kicking up my heels to the Charleston and dancing till the wee hours of the morn. What a magical time it was!

The 1920’s was a decade of big cultural change. For the first time ever, women in America were allowed to vote, and women in both Europe and Britain were given a new found freedom. Fashion evolved into some significant statements that thankfully remained present for some years to come, and we have seen such trends be reborn and readapted to our modern way of life. Following the cease of the World War, cultural divides began to be torn down, with people from all classes and races merging to live their best lives. Louis Armstrong could be heard crooning those jazzy blues in many speakeasies that were cropping up all over America. The prohibition had sent folks underground, with roaring parties being held in conspicuous places all over the major cities. Film had become popular with starlets like Gloria Swanson and Clara Bow gracing the silver screen, and fashion was largely influenced by Hollywood. Art Deco came alive during the twenties, and is a trend that is hugely popular today, with its hues of black and gold.

It was during the 1920’s that fashion started to become more relaxed and fun. Previous decades had seen women clad in many layers, with structural undergarments a necessity that forbade women from doing even some of the simplest tasks. There was also an etiquette where one changed ones outfit numerous times per day depending on the time and occasion. This trend did remain in some cultures up until the late 1950’s, and included morning dress, afternoon attire and then evening outfits.   But it was during the 1920’s that women and men started to loosen their morals when it came to fashion attire, amongst others things! Fashion houses in Paris were leaders in the market, with the likes of Chanel, Lanvin, Poiret, Patou, Lelong and Vionnet all enjoying success during this time. British designer Norman Hartnell was developing popularity also thanks to that of the Royal Family.

Arguable one of the biggest influencers of the decade was Coco Chanel. Her introduction of black as a shade to be worn at all times, not just in mourning, was revolutionary. She is also credited with designing the staple item in any woman’s wardrobe, the little black dress. It was in 1926 the Chanel made this ensemble famous, and over ninety years later we are still rocking the LBD. In 1921 Chanel released her eponymous fragrance No. 5, and designed the first cardigan jacket ever to be seen in women’s fashion. It was through the revolution of style that Coco Chanel developed that women were finally free from their corsets, and adopted a slender silhouette that was so much more versatile.

Another fashion statement from the twenties that is just as famous as Chanel is the Flapper. This term was given to young women who dressed in a certain way and displayed particular characteristics that were fun, flirty and flamboyant! The Flapper typically had bobbed hair and during the day she would often pull a cloche hat tightly over her smooth crop. By evening, the Flapper was all about having fun. Wearing dresses know as chemise or shift they embodied dropped waistlines and hung from the shoulder to the knee. With strands of pearls and the bar shoe, Flappers would dance the night away to the Charleston. They got their famous name from being described as looking like a bird flapping its wings before take-off, whilst they were hopping away on the dance floor. The Flapper was typically carefree, and focused on living in the moment, and not stressing about what might come next. I think we should all take a leaf out of the Flappers book here!

If you were not a Flapper during the 1920’s, there were other trends in which you could follow. Evening wear had become more risqué. Women began to show more skin than ever before, with shoulders and backs often being exposed while wearing long floating gowns. Hem lines rose and fell throughout the decade, but never came above the knee. As a result of these varying hems, hosiery sales went up, and the invention of Rayon as a fabric alternative to silk, only increased their popularity. Other synthetic fabrics were also born during the roaring twenties, which started to reduce the cost of some garments, and made clothing more affordable for all classes. Metal hook and eyes were also developed and were an alternate fastening to the humble button. Many fashion stores started cropping up in Paris, London and across America. These fashion boutiques started to use the mannequin to showcase their designs, and how to put together and outfit that would complement oneself. This resulted in women buying more than one item of clothing whilst on a shopping trip. Sportswear too became popular for women, as it allowed ease of movement through pleating and jersey fabrics. The motor vehicle also revolutionised women’s clothing, as it became more practical and resourceful for entering and exiting ones automobile.

The jazz age of the Roaring Twenties would have been a marvellous time to be alive. Whilst they would have endured great hardships at times, the fact that people could pick up and carry on is something to aspire to. To be a fabulous Flapper would have been so entertaining. I hope that in this next decade we see some homage paid to the traditions that became the 1920’s. Fashion is a constant revolving doorway, so who knows what we might see pop up again!

Love Always, Anastacia Rose xx

“Fashion is not frivolous. It is part of being alive today” – Mary Quant

One of the most fun and flirtatious eras in fashion history would have to be the Swinging Sixties. It was an era of change and revolution not only for social trends, lifestyles and politics, but for women’s rights both in and out of the home. More women than ever were entering the paid workforce, and taking control of their lives through the use of contraception. It was an age of innovation. Carnaby Street was the place to be seen in London, and Beatnik fashions were popping up all over Europe and America. Haute Couture houses that had previously dominated the scene were beginning to slow down, with consumers preferring a much more relaxed and easily accessible way of dressing. Miniskirts, culottes, go-go boots, PVC hotpants, and drainpipe denim from Levi Strauss all exploded onto the scene. And there was one British entrepreneur who took it all in her stride. Introducing, Mary Quant!

Mary Quant was one of the biggest and most influential designers in sixties fashions. Her use of colour, innovative fabrics and daring designs became not only her trademark, but that of the era as well. Born on the 11^th February 1930 in Blackheath London, Quant grew up in a modest household with her educationalist parents. Of Welsh heritage, Quant always had an inkling towards fashion and design, however her parents forbade her to study in this field. Instead she was allowed to study illustration, and did so at Goldsmiths College in London. It was while she was studying that she met her future husband, and aristocratic man whom she married in 1953. The couple later went on to have one child, Orlando, in 1970.

At the completion of her university course, Quant took on an apprenticeship with high end milliner Erik in London. Here she was able to use her creative skill set, with her passion for design and fun fashions growing even more. In 1955 her husband purchased a store on Kings Road in London, and together the couple set up their first store called Bazaar. It stocked many of the current fashion trends of the era, with an increasing audience crying out for more. After Quant began to receive recognition and enquiries about her own clothing that she wore in the store, she decided that she would start making some of the garments herself, adding her own personality to everything she touched.

It wasn’t long until Quant had cornered the market. Her designs were easy, youthful and simple, clothing you could actually move in. She worked in the store by day, and at night took classes on cutting. Shopping at Bazaar was a totally different experience for those who dared to be so bold. Loud music, free drinks and late opening hours was something that attracted many of the ‘Chelsea Set’ during the sixties. Quant used a method of production in the early years known as hand to mouth. By day she would sell her clothes and make a profit, and then by night she would use that profit to purchase more fabric and produce new garments by morning. It was an exhausting way to live, but ensured that Quant was always ahead of the pack with new designs stocking the racks daily. By 1966, the business had grown so much that Quant was now employing manufactures to do this work for her. She had eighteen in total.

Being innovative and opinionated, it’s no surprise that Quant is credited with developing one of the biggest fashion items of all time. The miniskirt was born in the Swinging Sixties, and has remained a constant in fashion in one way or another every decade to follow. Out went the modest knee length hemlines of the fifties, and in came this daring short length. Often paired with bright coloured tights during the freezing British winters, the miniskirt became largely popular. Iconic sixties model Twiggy also help to grow the acceptance of the style, and it soon became a staple of any young, modernist fashionista. Another innovation from Quant was the cheeky and seductive hotpants. Remaining popular into the early 1970’s the hotpant was another design element that struck the fashion world head on! The use of PVC as a fabric also gave Quant a point of difference in her designs, using it for clothing and footwear.

Known for playing with scale and proportion in her designs, Quant also drew inspiration from the Victorian era. She designed garments that replicated Victorian undergarments, such as knickerbockers, but made them from modern fabrics, and promoted them as outerwear. Dancers, musicians and almost anyone from the arts sector in some way influenced Quant and her designs. Over the years, Bazaar grew to entail three stores in London. In 1962, Quant signed up for one of the biggest deals she ever completed, with American department store JC Penney. She also diversified her brand further in the 1970’s, introducing swimwear, hosiery, jewellery, make up and skin care. Interior design was also a side business, with linens, carpets, paint and wallpaper all part of it. A diffusion line of fashion also arose in the seventies called Ginger Group.

The success of Mary Quant can never be doubted. While still caught up in the heat of it all, in 1966 she was awarded an OBE for her contribution to the industry. In 1988, she worked with car manufacturer Mini to design the interior of their famous little car. And in 2015, Mary Quant became a Dame, recognised furthermore for her everlasting impact of the history of fashion. The Swinging Sixties would not have been as colourful, bright, cheeky or empowering as they were had it not been for Mary Quant!

Love Always, Anastacia Rose xx