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



“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.


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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.

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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.


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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.



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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!

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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!

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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

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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.

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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.

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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

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

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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 9th, 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.

Marc Jacobs at Fashion East show at London RTW FW16

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

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

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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 10th 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.

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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.

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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!

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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

France - Ready-to-Wear Autumn/Winter 2005-2006 - Designer Karl Lagerfeld

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

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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.

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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.

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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.

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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!

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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.

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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

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“It is what a woman leaves off, not what she puts on, that gives her cachet” – Paul Poiret

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If you are looking for an icon of nineteen twenties fashion, then you will absolutely cross paths with the name Poiret. Known in the industry for cultivating some of the biggest and most sensational changes to women’s fashion, Poiret was a modernist in its first and purest form. He dominated the fashion scene in Paris and abroad from the mid 1900’s until he closed his House at the end of the twenties. He is credited with giving women more freedom in their fashions, and introduced colour, opulence and international flavours to his designs. What a time it would have been to be alive!

Paul Poiret is one of the greatest couturiers that France ever produced. Born in April 1879, he lived on both sides of luxury and poverty in his 65 years. His father was a cloth merchant, and when Poiret was old enough to work, sent him to apprentice in an umbrella factory. Whilst working in the factory, Poiret would collect the scraps of silk from the cutting room floor, and fashion them into outfits for his sister’s dolls. He had a knack for sketching and loved to design, and began to take a portfolio of his work around to couture houses in Paris. He sold many of his designs and then in 1896, was hired by Jacques Doucet. Here Poiret began to nurture his skills of design, and learnt many new techniques from the great couturier. Poiret then moved onto the House of Worth, where his flamboyant designs were too much for this classic fashion brand and clientele.

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Finally in 1903, Poiret open his own House where he could be as creative and Avant Garde as he pleased. Poiret not only established himself in women’s clothing, but also as a great business man. He introduced things previously not seen or heard of by fashion designers, and became an entrepreneur before we even knew the word existed. He became known for lavish window displays of his latest creations, and threw some of the most sensational parties of the time. He opened his home, a mansion in Paris, and invited everyone who was on society’s it list. Poiret used his muse and wife to showcase his latest designs at these parties, with no expense spared. Think Gatsby, and that’s the kind of soiree that Poiret was known for giving!

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There are some notable developments in fashion history which we can thank Poiret for. One of the best known innovations was that of freeing women from their corsets. Poiret changed the silhouette of fashion dramatically when he started to use draping techniques and free flowing fabrics. No longer did women’s busts ooze over the top, but a much more flat and comfortable style was adopted. The empire line was a style that Poiret favoured, raising the waist line to just below the bust, and allowing the fabric to be fluid from this point on. Fabrics such as muslin, lightweight silk and satin, and tulle were all used, and a vibrant colour pallet was introduced.

A lot of the inspiration for Poiret’s designs came from oriental influences. The use of colour and pattern was inspiring to Poiret, and he became known for his kimono coats when he first opened his House. Poiret travelled to many places to draw further on his inspiration, and we began to see tassels, feathers, Batik, Persian and ropes of pearls all come through in his work. Design innovations such as the hobble skirt, a skirt with a very narrow hem which significantly impeded the wearing from walking, was another of Poiret’s creations. Harem pants are another staple of Poiret, which are a baggy trouser cinched in at the ankle. As you can imagine, women did not wear trousers in the early twentieth century, so Poiret created a frenzy with his new ‘Style Sultane’ silhouette. The ‘Lampshade’ tunic also came from the House of Poiret, which as the name suggests, was a tunic with a wide hem line encasing a wire structure to give it more definition and make the shape more dramatic. Poiret also drew inspiration from the Ballet Russes, and frequently used draping in his work. This draping technique lead his designs to herald a somewhat Hellenic influence, which saw a departure from the traditional tailoring and patternmaking from couturiers before.

In 1911, Poiret further established his brand with the introduction of a fragrance. He was the first French couturier to do so. The same year, he also developed a home décor division, and the Poiret brand started to become known as a whole lifestyle, not just something affluent women could wear, but something they could also decorate their homes with.   The lavish and luxurious lifestyle that Poiret, his wife and five children had become accustom to, started to slow down at the beginning of the First World War. Like many French men, Poiret had to serve for his country, and as a result, his fashion empire had to close. Upon re-entering the trade in 1919, Poiret struck difficulties, and found rivals in the likes of Chanel. While Chanel was establishing herself as another great French couturier, Poiret was unable to keep up. His garments while they had been revolutionary and opulent, were not fine examples of construction. They looked dazzling from afar, but if you got too close, you could see the flaws. Women were starting to become accustom to not only great design, but fine sewing and finishing. Poiret sadly never regained his place at the top of the scene, and after struggling for a few years, closed his doors in 1929. What was left of his stock was sold off as rags.

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Paul Poiret lived out the remained of his live on a much more discreet level than he had previously. On the verge of poverty, having lost everything, Poiret died in 1944, aged sixty five. By the time of his death, most in the fashion world had forgotten all about him and the tremendous things he contributed when at the top of his game. His close friend, Elsa Schiaparelli, was the one who paid for his burial service. It took some years before the industry finaly recognised the achievements of Poiret, and since then, many exhibitions have been held in his honour. Being the first designer to publish a look book, create a logo and dive into costume design as well, Poiret really was an innovator.

After ninety years lying dormant, the Poiret brand has been revived by Beijing born designer Yiqing Yin, and will showcase its first collection for Fall 2018. It seems that fashion will always remain attached to its past! For a man that stabilised the French Couture industry, Poiret’s legacy will live on. Not only a designer, but a poet, a painter, a musician and a well-travelled individual, Paul Poiret and his quirky creations will forever hold their place in the history of fashion.

Love Always, Anastacia Rose xx

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“A woman can carry a bag, but it’s the shoe that carries the woman” – Christian Louboutin

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Who doesn’t love a pair of heels? They not only make any outfit look good, but they make you feel good too. They may not always be practical, but then stilettos were never meant to be! That feeling when you pull your new shoes out of the box and try them on at home for the first time is liberating. How many of you have stood in front of the mirror and just admired them on your feet, and the way they make your body feel? I know I have many times. A great pair of shoes can give you confidence, they can lift your spirits and make you feel sensual. They can complement any outfit and give you the urge to strut your stuff! Oh for the love of shoes, yes, I think I have a fetish like many of you do!

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One man who can be credited with giving women this lustrous feeling about themselves and what’s on their feet is Christian Louboutin. The French shoe designer has been decorating women’s feet for over twenty years now, and has certainly cemented his place in fashion history. Born and raised in Paris’ 12th arrondissment on January 7th 1964, Louboutin was the only son of a cabinet maker and stay at home mum. He had three sisters and spent most of his younger years surrounded by these women. Louboutin was fascinated during his childhood with the country Egypt, and it’s been reported that only a few years ago he discovered that his biological father was in fact Egyptian. Not being much of an academic, Louboutin was often expelled from school or failed to show up in the first place. By the age of twelve, he had taken inspiration from a Sophia Loren interview about her sister leaving school early and going on to achieve success. Louboutin follow suit with no doubt in his mind that his life would turn out just fine.Louboutin 2

After leaving school, Louboutin found work at the famed Foiles Bergeres cabaret club in Paris. Here he experienced many things as a young boy, and became known as a bit of a party lad around town, cruising the scene with the likes of Mick Jagger and Andy Warhol. He also spent some time abroad, in Egypt and in India, before returning to Paris and setting his sights on shoes. His fascination with shoes came from a visit to a museum when he was a young boy, where there was a sign displaying no high heels to be worn inside the museum for fear of damaging the floor. With little formal training, Louboutin compiled a portfolio of shoe designs that he set off to show some of the couture houses in Paris. From these initial meetings, Louboutin was fortunate enough to impress Charles Jourdan, who gave him his first job as a shoe designer. It wasn’t long after this that he moved on to apprentice in the atelier of the renowned Roger Vivier, who had designed shoes for Christian Dior in the 1950’s.Louboutin 5

After learning many skills and encouraging what was his natural abilities, Louboutin became a freelance shoe designer himself. He designed collections for Chanel, Yves Saint Laurent and Maud Frizon. After taking a short break form designing, Louboutin found the calling too strong, and in 1991 with the help of two backers, set up his own business. One of his first clients was Princess Caroline of Monaco, who just happened to be in the store at the same time as a journalist. This meeting set the scene for Louboutin and he has never looked backed. There are many famous women who have fallen in love with the red soled shoes, including Catherine Deneuve, Joan Collins, Jennifer Lopez, Sarah Jessica Parker and Blake Lively. One of Louboutin’s biggest fans is reported to be Danielle Steel, who is said to have over six thousand pairs of Louboutin’s in her wardrobe!

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Christian Louboutin has been credited with bringing the stiletto back to life. His heels are around one hundred and twenty millimetres high, and are recognised the world over for the flaming red sole. The idea for the coloured sole came about when Louboutin was looking for something to liven up his designs. His assistant was painting her nails a vibrant shade of red next to him one day in the studio, and Louboutin stole the bottle and painted the sole of his latest creation. He knew in an instant that it would become his trademark! The colour has its own unique Pantone code of 18-1663 TPX. The majority of Louboutin’s shoes are aimed at the upmarket dressy fashionista. They are adorned with all sorts of embellishments depending of the inspiration for the season. Jewels, bows, feathers and patent leather are all featured on some of his more sensual designs. Know amongst the elite as the “Sammy red soled shoes”, Louboutin’s signature was created in 1993, and over the years the designer has fought many battles to keep this design feature exclusively his.

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Christian Louboutin has achieved immense success since the start up of his business. In his first year of trading he sold about two hundred pairs of shoes, and by 2012, was turning over around 700,000 pairs! Of the $300 million in annual revenue, almost 95% of it comes from shoe sales alone. The United States is by far the biggest market for the stunning red soles, making up 52% of the company’s sales. The majority of the shoes are produced in a factory in Milan, where Louboutin employs about four hundred and twenty staff. Known as Loubis Angels, the staff work tirelessly to bring his creations to life. For a long time Christian Louboutin resisted the calls for him to design other luxury goods. In 2003 he developed his first line of handbags and purses, and has since branched out into men’s footwear, luxury beauty products (including a red nail varnish), and fragrance. He has also been involved in many side projects over the years as well, including partnership with Disney, Mattel, Apple, and a photo exhibit with David Lynch.

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So if you’re the kind of woman who loves the feel of a well crafter pair of shoes on her feet, and you’ve got between $400 to $6000, then maybe a pair of Louboutin’s is what you need! With the desire to make women feel sexy and flirtatious, Christian Louboutin has certainly achieved this many times over. Striking, iconic, and damn right hot, the Louboutin brand of shoes with their lively red sole is certainly something I will be striving to own in my vast shoe collection.

Love Always, Anastacia Rose xx

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Who doesn’t love a Royal Wedding … And the frocks they made famous!

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If you’re anything like me, then you’ll love a royal wedding! The extravagance, the tradition, the guest list and the fashions, fascinates not only me, but many around the world. Royal weddings have become a huge event, especially now that they are televised for the world to see. We as humble mortals get a glimpse inside the life and riches of the Royal Family, and can feel like we are somehow involved in this grandest of occasions. With all the hype and commotion surrounding the recent nuptials of Prince Harry and Meghan Markle, I have been inspired to take a look back at other royal weddings that have also had just as much impact. From Queen Elizabeth 2nd through Princess Diana, the Duchess of Cambridge and now the Duchess of Sussex, in this blog I’m going to explore the fashion trends and styles that marked these four grand weddings with not only a place in history, but a prestigious association with fashion history also.

I’ve had a fascination with the Royal Family for some years now. While they have certainly had their faux pars over the years, the new generation of Royal’s are doing great things and lending their popularity and influence to many wonderful causes.   I’m not entirely sure when or where my love for the Royal’s began, but I suspect it has something to do with my Grandparents being British. My Grandfather especially had a strong passion for his home land, and I can remember him often speaking of the Royal Family with fondness. I guess this is also where my attachment towards British television drama came from (think Downton Abbey, The Crown, The Young Victoria). So let’s take a wander down the aisle of fashion history and discover what these royal brides and their outfits were really made from!

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Britain was thrown into a flurry of excitement, when on 9th July 1947, the Royal Family announced the engagement of Queen Elizabeth 2nd (1926 – ) to Lieutenant Phillip Mountbatten RN. The royal engagement could not have come at a better time, lifting the spirits of all after the perils of war were finally over. Only five months later the couple wed in the grandest of churches, Westminster Abbey. The dress which Queen Elizabeth wore was commissioned for her by British designer Norman Hartnell. Hartnell was asked to submit several design to the Royal Family so they could make their decision if he was fit for the role. With less than three months to construct the dress, Hartnell got straight to work. He ordered more than 10,000 pearls from America to embellish the gown with. To keep the secrecy that must be attained with all royal wedding gowns, Hartnell had to paint the windows of his work room so that no prying eyes could see the master tailor at work. The dress was a one piece, princess style, and displayed a fitted bodice with a scalloped neckline. It was made from the purest of satin, with buttons and loops running the length of the bodice. The skirt, cut on the cross, had a circular train that extended to fifteen feet long. Modest compared to some! Keeping with tradition, long sleeves were a must. The gown was embroidered with white roses, diamantes and pearls, and a long veil crowned with a diamond tiara finished the brides outfit. Queen Elizabeth’s bridesmaid’s dresses were also made by Hartnell from ivory silk tulle. This was another tradition amongst royal weddings, where the bridesmaids replicated the colour and design of the bride’s gown, unlike modern wedding where you more often than not see colour splashed amongst the bridal party. Queen Elizabeth’s wedding dress was nothing short of epic, as too were the royal brides to follow over the next sixty years.

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Over thirty years later we saw the royal wedding of Queen Elizabeth 2nd son, Prince Charles, the Prince of Wales. He wed a society girl Lady Diana Spencer (1961 – 1997), in what has been reported years later as a marriage of convenience and necessity rather that one based on love and affection. But the wedding ceremony of these two on July 2nd 1981, was one of the biggest the Royal Family has ever put on. Choosing to marry at St Paul’s Cathedral due to its sheer size to hold thousands of guest, Prince Charles and Lady Diana had their wedding televised for the world to see. In what seemed like the ultimate fairy tale, the bride was nothing short of extraordinary in her gown of ivory silk. David and Elizabeth Emmanuel were the designers chosen for the occasion, with Lady Diana also wearing one of their creations in her official engagement photographs. Unlike recent royal weddings, the designer of Lady Diana’s dress was announced to the press before the occasion. Again the design had to be kept secret, with the Emmanuel’s also painting the windows of their studio to keep an air of mystery about it all. No sketches of the dress were made either. The design which was seen for the first time as Lady Diana stepped from her carriage, comprised of a fitted bodice with a deep flounce neckline. Full sleeves were dominant and a crinoline petticoat ensured the meters of fabric in the skirt were on display. A blue bow was sewn into the waistband of the dress, and an ivory silk tulle veil with mother of pearl sequins sat perfectly atop the new Princess’ head. And there is no mistaking the twenty five foot long train that this dress encompassed, cascading down the aisle of St Paul’s Cathedral in all its royal glory! The five bridesmaid’s that accompanied Lady Diana were outfitted in a similar style but in a lighter weight fabric. An icon of fashion in the eighties, the memories that Diana, Princess of Wales created on that brilliant day in July will always remain as an important part of fashion history.

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Then in 2011, we saw the wedding of Prince Charles’ and Diana’s eldest son, Prince William of Wales. He wed is university sweetheart Catherine Middleton (1982 – ), in a lavish ceremony to rival that of his parents some years earlier. At Westminster Abbey on 29th April 2011, the Prince and his new Duchess were married amongst thousands of guest in a televised event for the world to see. The bride chose Sarah Burton of Alexander McQueen to design her gown, and also the stunning dress in which her Maid of Honour wore. In Ivory satin, the gown paid homage to royal tradition with a long sleeve of stunning lace work. This lace work was entirely hand made, and showcased flora of the British Empire, including roses, thistle and shamrock. The bodice of the dress was boned to keep its figure hugging silhouette, with padding over the hips to ensure a smooth flow from the stunning full skirt that fell below. The train was a modest nine foot long, and a Cartier halo tiara sat atop the Duchess’ head from the Queen’s own private collection. As tradition with many royal weddings, the brides’ bouquet was placed on the tomb of the Unknown Warrior after the completion of the ceremony.

Kate Middleton arrives with her sister,

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The most recent royal wedding that we all saw differed in many ways from the tradition and grandeur of those before it. With a more relaxed vibe, Prince Henry (Harry) of Wales married his American fiancé Meghan Markle (1981 – ) at St Georges Chapel, Windsor on 19th May 2018. As with William and Kate’s wedding, the speculation mounted as to who the designer of the brides’ gown would be. As Meghan emerged from her bridal car, the world was informed that it was in fact British born Claire Waight Keller, who was now the creative director of French label Givenchy. The bride had been overwhelmed with submissions from designers around the world wanting to make her dress, but Meghan chose the elegant and timeless style of Givenchy. With the gown being constructed in both Paris and London, Meghan had eight fittings in the three months that were allotted to construct the dress. With a wide boat neck, long sleeve and tailored bodice, the bride looked stunning in a gown simular to some Givenchy himself had designed for Audrey Hepburn many years before. The colour was pure white, and the bridesmaids’ outfits were also made by Waight Keller. A diamond bandeau tiara borrowed from the Queen held Meghan’s veil in place, with the centre brooch of the tiara dating back to 1893. It took five hundred hours to construct the silk tulle veil, longer than it took to make the dress! It was completely hand maid, with the fifty three flora emblems of the Commonwealth countries being embroidered onto it. The seamstresses working on the veil had to wash their hands every thirty minutes to ensure its pure white colour was not soiled.

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It may be a few years now until we see another royal wedding on the scale of the ones we have seen over the last sixty years. When the time does however come, you can be sure that tradition will still play a major role. A royal wedding dress will always draw attention, no matter who the bride is.

Love Always, Anastacia Rose xx

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