Happiness is to be found when in pursuit of it, in the soothed expectation, on the way, not only upon the arrival. Accepting detours, just going the way, which is anyhow not this obvious to anyone.
Thomas Bettinelli



Happiness is just a hairflip away.
Chris Crocker

A NEW CLIP EVERY WEEK HERE

"The way the system works now, you see the clothes, within an hour or so they're online, the world sees them. They don't get to a store for six months. The next week, young celebrity girls are wearing them on red carpets. They're in every magazine. The customer is bored with those clothes by the time they get to the store. They're overexposed, you're tired of them, they've lost their freshness".
Tom Ford
















2.07.2013

Hardy Amies

Israeli artist Ori Gersht's video of a vase of flowers exploding in slo-mo made a curious intro to the Paris début of Hardy Amies' menswear. Apparently there was something in the Zabriskie Point violence of the piece that helped creative director Claire Malcolm connect Hardy's life (including wartime adventures that are the stuff of spy movies) with his art -or at least his craft as a designer. Grace under pressure ? That, at least, would have co-joined the ever-calm and charming Claire Malcolm with the long-gone man whose name is on the label. For the record, Sir Edwin Hardy Amies, KCVO, died in 2003. He founded the company on Savile Row in 1946 thanks to Virgina Cherrill, Countess of Jersey -erstwhile Hollywood film star and the first Mrs Cary Grant. By a curious coincidence, the show took place in the same space where, a few years ago, Carlo Brandelli resuscitated Kilgour, another Savile Row heritage label. The brilliance of that particular effort blazed all too briefly before some cockamamy business decisions deep-sixed it. You could certainly wish for a happier ending for Claire Malcolm, especially after the collection she showed, with its quietly luxe restraint. The show was bookended by white double-breasted suits -one for day, one for evening- which was a clear and clever way for the designer to set out her stall as a mean tailor. Between the two, she mulled over men's clothes as Sir Hardy Amies himself might have worn them, with a military inflection during World War II, as a peacock in peacetime. If knits tucked into pleated shorts looked a little sissy, that was a slip in the styling, which otherwise maintained a cool, sartorial precision. One might have hoped for a little more rub (HA himself was notoriously contrary), but the eye-popping op effect of one dinner jacket hinted at the delightful excesses Claire Malcolm may be capable of as her confidence grows. She mined the inhouse style and the rarefied world that Cecil Beaton and Lee Miller chronicled. From pre-war glamour to wartime solemnity, followed by the 'New Reality' and later optimism with the 'Peacock' generation of the Sixties, the collection reflected each period with English tailoring, military colors and luxe evening wear. An obvious retro feel, this time deftly evoking the dapper aesthetics of Capri circa 1950 -all skinny ties and rose-tinted glasses- with the kaleidoscopic prints providing the perfect after-dark option to hit a jazz bar on the mainland.

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