Point me to the boulevard, s'il vous plaît

I call this my hybrid Belle Époque–vaguely forties–with a touch of Helmut Newton’s sixties–new look. I have never worn this outfit on the street before, but there is a strong possibility I will one day: in my fantasy I am strolling down some seaside boulevard under a blazing summer sun. The light sparkles on the waves of the ocean, a breeze ruffles across my arms…

It all began with the serendipitous discovery of the peplum-style top.

As delightfully frivolous as it is, this top is by no means perfect. It is, for starters, a size too small. This unfortunate defect necessitates much undignified gyrating and jumping up and down just to do up the zip.

Each time I put it on and wrestle for grim death with the zip, I mutter through gritted teeth: “I’ve done it up before; I can do it up again!”

When finally I tug it all into place I understand the difficulties women had breathing when wearing corsets. Notwithstanding the constrictions of my ribcage, the plunging neckline gapes somewhat as I lack the physical endowment to fill it out.

On the pro side of the list: it is adorable! I like the colours, the geometric pattern and most of all the peplum-like balloon shape. Its exaggerated proportions demanded a contrasting lower half. I remembered the very long and narrow, navy linen Donna Karan skirt I had put aside, unworn.

I had not yet tried the outfit on, but it put me in mind of something a Belle Époque beauty might have worn whilst taking a turn on the promenade in gentlemanly company. That evocative picture plainly required the presence of a hat to complete it. And I had just the one: an enormous red saucer by Mimco. Uncrushable, it can be moulded into any shape.

It still left an expanse of bare flesh that demanded decoration; so on went half a dozen bangles that I never ordinarily wear (they hamper me), and a necklace handmade by myself from golf-ball-sized translucent beads. Green platform heels by Mollini were the last accessory to complete the ensemble.

Below are the vintage originals that evoke the spirit of my strange hybrid.

Both fashion plates possess different but similarly exaggerated proportions. At the turn of the 20th century, long narrow skirts became fashionable, called the ‘hobble-skirt’ – because women did, of course. It wasn’t enough to restrict their breathing!

The wasp waist and enormous skirt of the forties’ New Look translates into my tight empire-line waist and billows of fabric. Mini peplums (above left) and narrow skirts were also popular. These two looks below are from the fifties.

Quite different to mine, this hat (left) is also large enough to hide the face and retain a sense of mystery – and of course shelter one from the blistering rays of the Australian sun.

The look of now, on the beaches; a back bared beautifully to the waistline, and the stunning counterpoint of a hat as wide and sheltering as a beach umbrella. This one, in mango pink straw, is anchored against lifting sea breezes with a wimple of nylon marquisette. Weedmans, Brisbane and Surfers Paradise, 84s.

Main photo: original photograph of backdrop by Robin Lowe.
Illustration credits: (Top left) Fashion plate, 1912-13, Dresa, from A History of Costume in the West by François Boucher; Thames & Hudson, 1966. (Top right) Pochoir fashion illustration Dieu! qu'il fait froid by Georges Lepape of a fur-edged coat by Paul Poiret, for La Gazette du bon ton, 1913, from The Fine Art of Fashion by Julian Robinson; Bay Books. (Middle left) ph: Henry Clarke, 1953; (middle right) ph: Henry Clarke, 1951; (bottom left) ph: Irving Penn, 1959; (bottom right) ph: Henry Clarke, 1956; all from In Vogue, by Georgina Howell; Condé Nast Books, 1991. (Left) Australian Vogue,  Summer 1960; ph: Helmut Newton.

What I Actually Wore #0004

Serial #: 0004
Date: 01/10/2008
Weather: Fine and mostly sunny, 24°
Time Allowed: 5 mins

All day everyone was exclaiming how they liked my 1950s look. It began with the skirt, an easy pencil style with asymmetrical stitching in rust brown on a beige background. It was the bright spring weather that dictated once more I must wear some colour, and this sky-blue top seemed particularly appropriate. It’s also a nice combination with beige.

The geometric-print, silk scarf seemed far more interesting than a necklace, and the faux pearl earrings, also vintage, look like a bunch of grapes. I bought those at the Salvos for $4 and have loved them since the instant I saw them. A classic pump style, the shoes are made interesting by their strange colour: a purplish-brown that is really only obvious outdoors. Another vintage accessory: the purple 70s sunglasses with gold arms were bought on eBay.

This outfit is patently all about the accessories, so here’s a close-up below:

Now, back to the scarf. I know these pretty young things today like to be practically strangled by their enormous scarves. The former are simply and loosely wrapped around the neck, but if you are going to wear a thin silk scarf, you need to know how to tie it properly. I wore mine in a basic square knot, but there are dozens of other styles if you want to experiment.

Just don’t get strangled like Isadora Duncan…

Items

Top: Portmans
Skirt: Veronika Maine
Shoes: Zoe Wittner
Scarf: vintage
Sunglasses: vintage
Hair clip: Paris Mode
Earrings: vintage
Watch: Kenneth Cole
Ring: NGV Gallery Shop

Like sheep, they have all gone astray

Whatever happened to FOLLOW me magazine? I’m not talking about its most recent reincarnation in 2005 – a failed renaissance, and a short-lived one at that; I refer to the original magazine of the eighties. I was only a teen when I read it, and I didn’t have access to many international magazines (there was no Borders), but compared with what I could get my hands on then – Dolly, Cleo, Cosmo, Vogue – it was so much more original.

The editor of the relaunched title, Mark Vassallo said, "Back in the eighties we blew people’s minds with our forward-thinking and radical designs."¹ This was so true. When the latest issue hit the newsstands, I was so excited I would snatch it up and immediately buy it without even bothering to flick through the pages first.

Even today’s so-called alternative Australian magazines have a ubiquitous look about them.

As for the mainstream fashion magazines (yes, I’m talking about you, Vogue, Harper’s Bazaar) why would I buy them when I’ve already read the articles printed therein on the pages of the international editions months ago?

Take a look at these spreads below, photographed by Martyn Thompson (now an internationally renowned lifestyle photographer) and styled by Jayson Brunsden (now a fashion designer). It’s not just their work that is admirable, but the art director and the copy writer have turned what could have been a pedestrian fashion editorial into something witty. They weren’t just interested in showing the clothes in every detail, but in the colours and shapes they make on the page. 

This was a magazine that was designed – not just laid out – in the manner of Alexey Brodovitch and Carmel Snow of Harper’s Bazaar in the 1930s–1950s.

I’ve typed out the captions for your enjoyment…

LADIES WHO LUNCH
Taking a cue from the couture of the Fifties, fashion wraps up, Balenciaga-style. So slip on the gloves, a real hat, a flash of technicolour, and darling, do lunch!

(Left) Totally coutured with the perfect accessory, the mini Kelly bag by Hermès. Bright red overcoat from Mondi, over Wendy Heather rust-coloured pullover; the hair wrapped and parcelled in Hermès ribbons. (Right) Lunch on pearls and cashmere in classic black by Trent Nathan. Strands of pearls from The Vintage Clothing Shop.

(Left) The chic suit by Robert Burton. Hair wrapped up in Hermès silk scarf. (Right) Perfectly topped in huge saucer-brimmed hat by Annabel. Rust suit by Ian McMaugh, over cropped black sweater by Wendy Heather. Earrings by Hermès.

(Left) Two ladies to lunch. Woollen wrap from David Jones, over Carla Zampatti suit and, in the foreground, suit by Charles Jourdan, silk scarf by Jendi. (Right) Flashes of Fifties technicolour in Covers bright mustard-yellow wide-collared jacket, bodysuit and brown skirt.

(Left) So chic, the shoe by Charles Jourdan. Rust-coloured pullover by Wendy Heather, the polo-neck strung with a tumble of jet beads from The Vintage Clothing Shop. (Right) Curved and carved in a wasp-waisted suit by The House of Merivale.

FOLLOW me, Feb/Mar 1988, Photographs by Martyn Thompson. Cover FOLLOW me #35, July 1988. Photographer unknown.

1 You can read B&T magazine’s full article here if you wish.

Not so sole-destroying

Pretty shoes on? Raining? Fear not, Freasy Rain Gear has the solution for you: plastic booties that slip on over your precious Jimmy Choos! Featuring ‘zipped top closure’, ‘heavy guage [sic] vinyl’ and ‘anti-skid soles’, they will take you home in style, safe in the knowledge that your silk-shod feet will not be ruined.

Faced with the dilemma of an unexpected thunderstorm, and clad in delicate turquoise heels, I actually road-tested this product. I am pleased to be able to inform you that they did indeed bring me and my lizard-skin heels home undamaged.

I cannot recall which of my past work colleagues gave me these, or what company was responsible for their precipitate departure from Taiwan’s shores. However, I put them away in my drawer, and saved them for the rainy day when my sartorial courage would be put to the test. Much to the amusement of the office, it was, and I passed with flying colours.

Tragically, a Google search did not come up with any results so that you too could share in this character-building experience. You will have to enjoy them vicariously.

Shoes by Hussy

What I Actually Wore #0003

Serial #: 0003
Date: 29/09/2008
Weather: a few showers, 18°C
Time Allowed: 5 mins

Last Monday’s weather forecast dictated I should wear pants. Since it was spring I couldn’t possibly wear winter woollies, so I immediately decided on these VM silk/linen trousers. I really like them but they are hard to wear, demanding a slim-fitting top. Good posture is imperative too, or they scrunch down – which is a really bad look for front pleats.

I love wearing different shades of grey, so this wool t-shirt was an easy pick (my concession to the cooler weather). It was an inexpensive purchase from Kookaï; basic, except for the neckline detail that creates the look of a double layer. I have worn it so many times.

The wool fedora adds a jaunty touch, but I usually like to wear my hair tied back when I wear any hat.

My hair is quite long, so I feel a bit inelegant with it out; I think it distracts from the graphic silhouette of a hat, too. Hats make enough of a statement on their own without messy hair falling all over one’s shoulders.

This necklace is a great conversation starter, and never fails to provoke attention. Made of base metal, it’s actually two individual loops intertwined, and they can be sculpted into any shape. I turned it into a bow-tie last Saturday night! I dread the day when a kink develops from over-zealous twisting and they snap. 

Some colour was required to save the outfit from dreariness, so on went the double belt – there are two silver rings interrupting the tan leather on the sides that you can’t see – and the orange patent shoes. I bought these new on eBay, attracted by the gorgeous colour. For once photographs didn’t lie! I own a lot of neutral-coloured shoes, and this past winter had a hankering for coloured footwear that would offset a typical outfit such as this. Grey skies are gloomy enough.

Items

Top: Kookaï
Pants: Veronika Maine
Hat: Morgan & Taylor
Belt: Alta Linea
Shoes: Aldo
Necklaces: Ishka
Earrings: Palm Beads
Watch: Kenneth Cole
Ring: NGV Gallery Shop