#london fashion week 2009

[somebunnycares]

Vivienne Westwood Red Label Runway S/S 2010 London FW

[depressedraisin]

miles kane serving at fashion shows through the years 💅

with suki waterhouse, burberry womenswear s/s 2013, london fashion week (2012) // with lisa, celine menswear s/s 2020, paris fashion week (2019)// with alex turner, saint laurent fall ready to wear 2014, paris fashion week (2014) // saint laurent menswear f/w 2015, paris fashion week (2014) // with alexa chung and agyness deyn, house of holland 2009, london fashion week (2009) // with alexa chung (and others), celine menswear- hedi slimane's debut show, paris fashion week (2018) // with alexa chung, celine womenswear f/w 2021, paris fashion week (2020) // celine menswear f/w 2019, paris fashion week (2019) // celine womenswear s/s 2020, paris fashion week (2019) // with tinie tempah and david gandy, a sauvage 2015, london fashion week (2015) //

[rosamundpikesource]

Rosamund Pike attends the Temperley Spring/Summer 2009 collection catwalk during London Fashion Week on September 15, 2008 in London, England.

Ph. Dan Kitwood

[monsieurcouture]

Burberry Prorsum F/W 2009 Menswear London Fashion Week

[mariacallous]

The first time I saw a Vivienne Westwood dress in the wild was while shopping for my best friend’s wedding, almost 10 years ago. She told me she wanted something black, not white, something in the sale, something she could wear after the wedding and – turning to face me on the middle of London’s Regent Street, added: “something that will stretch because I’m six weeks pregnant”. So off we went to the Vivienne Westwood store on Conduit Street in London, and left half an hour later with a loose black silk sleeveless pencil dress, with a draped neckline and ruched waist with plenty of give. She successfully wore it, five weeks later and 11 weeks pregnant, to her wedding.

Vivienne Westwood, who died on Thursday night, could pack more contradictions into one collection than most designers could in a lifetime. But in her clothes, she did the one thing designers are unable – or rather unwilling – to do. That is, make fancy stuff for real people with real bodies, making her truly the mother of all fashion contradictions.

Probably more famous for her transgressive marriage of punk and fashion in the late 70s – for dressing the Sex Pistols in rips, and Adam and the Ants in Elizabethan blouses – it wasn’t until the late 80s and 90s that Westwood began making proper tailored clothes by dissecting existing pieces, inadvertently changing the landscape of high-end womenswear.

The best example is perhaps her 1990 Portrait Collection show. Here, skirts were full, waists were boned and bosoms spilled. The models who took part in her shows were thin – but in spite of this, some of the clothes seemed to support their wearer, somehow making them look fuller. Removed from their catwalk context, they didn’t just expand the definition of acceptable body type; they encouraged it.

This was part of Westwood’s shtick, of course. If trends went one way, she went another. But at the time, viewed between the wide-shouldered soft power of fashion’s main New York players such as Donna Karan and the “heroin chic” thriving within its subcultures, Westwood’s 90s aesthetic was an outlier, exaggerating the female form rather than reducing it. The 18th-century-inspired gowns were not outrageous because they showed their wearer’s knickers, but because they understood what fashion for women with breasts and bums wasn’t – which was fashionable.

“All my clothes are really sexy, about meeting the body and making it look attractive and powerful,” she said, at the 2004 launch of her V&A retrospective. “I aim to make people look important.” Among her fans were undoubtably famous and powerful women – most famously the artist Tracey Emin, the actor Christina Hendricks (who also fronted a Vivienne Westwood campaign in 2011) and the shape shifter Kim Kardashian. Celebrities, yes, but also women with bodies who relied on clothes that celebrate the female form.

Not everything Westwood made in the 90s was about wearability, of course. Just ask teenage Naomi Campbell, who fell on her 1993 catwalk in 9in platforms, or Kate Moss, who in 1995 walked out wearing just a skirt while eating a Magnum. Nor is body image something Westwood particularly wanted to interrogate with her clothes (it’s telling that in a 2018 documentary, she described her approach to fashion not as attacking the establishment, but as “a distraction”). She cared about animals, and was a vegetarian, but partly because her favourite food was lettuce – she once alleged that she and her husband, Andreas, went through one iceberg a day.

It could also be said that Westwood, perhaps hypocritically, deployed nudity as a shock tactic rather than anything more helpful, particularly later in her career. When Pamela Anderson, her one-time muse – in politics too, with both campaigning for the release of Julian Assange – walked in a show in 2009, and revealed a nipple during the final bow, the effect was mainly comic.

Still, as someone who dressed punks, then supermodels, translating the shock tactics of one movement into the other through plaid and scissor-work, she pioneered a rebelliousness that often led to change. In 2017, her catwalk show was one of a few that season to include menswear and womenswear. What seemed like a gimmick then was actually fairly progressive – this is fairly normal practice now. Still, as the clothing was sold in separate departments, the only real way to identify the unisex stuff was to check the label.

Not all catwalk shows have real-world impact – and as empowering as it was to see heaving bosoms on her catwalks, how many women think of a catwalk show when hunting for something to wear? They did with Vivienne Westwood. As my pregnant friend walking down the aisle in a black dress proves, the clothes actually worked for women in the real world.

[royalsunshinehotel]

Dev patels characters reacting to their s/o surprising them by wearing lingere?

A/N: This one has been living in my notebook for like two weeks now. Hope you enjoy <3 as always, consulting credit to @hecuba-of-troy

Anwar Kharral (Skins 2009) I feel like Anwar is the biggest geek. Even with all the money and clout that comes with being an indie darling, on some level, he can't quite believe that he's with you, he still sees himself as the geeky boy who ran off to London. He pulled you, he can't believe it. Anyways, Anwar reacts like Wiley Coyote. It's almost cartoon-ish the way his eyes bulge out of his head. He takes a minute to actually put his hands on you, but he makes it worth the wait.

Sonny Kapoor (The Best Exotic Marigold Hotel, 2011) Straight up I don't think Sonny would believe it. You're pretty chill as a person, always following your gut, and standing your ground when you need to, but Sonny, being Sonny, definitely jumps to the conclusion of you being the wildest western sex goddess dream, like a centerfold or one of the ladies from the internet videos . He proceeds to give you the head of a lifetime, good for you.

Neal Sampat (Newsroom, 2011-2014) To Neal, you are the definition of "baddie on a budget". If you work with him, the two of you have the same job and he's likely getting the same amount of pay as you, and he doesn't get paid what for the worth of the work he does, same for you. This is why he's absolutely floored when you come out in one of the nicest sets. Is it out of your budget? Yeah. Do you take advantage of his shock and ride tf out of him? Also yeah.

Deon Wilson (Chappie, 2015) Deon, due to lack of experence, would have a good moment where he's caught like a deer in headlights (ha ha), we think he'd probably admire for a while, want a 360 view with the softest look on his face. It would really be soft, and you'd get tiny kisses on your neck most likely.

Sheru “Saroo” Bierley (LION, 2016) Saroo is a little bit tough. I feel like, initially, he'd could be kinda mean, just ordering you to lay down and teasing tf out of you for being a 'slut', which you are, but for him, specifically. But on the other hand, I could also see Saroo just being so 😁 thrilled to be with you, especially when you look like an angel with no wings, "So like a person" is what you respond, and I feel like you gotta get smacked in the pussy a few times for that.

Jay Menha (The Wedding Guest, 2018) Sanjay immediately dives in. I feel like this is one of the few times where he'd ask if you like what your wearing before he dives in and starts to fuck you. Being of an artistic mindset, there is a good chance he'd want to take pictures or draw you looking so pretty, but he's a kind person. He won't make you wait for dick. David Copperfield I feel like you bust out the costumes/lingerie when David's been a little too lost in his work. Essentially, what happens is he's troubleshooting his latest plot to you while you're getting dressed, his nose practically buried in pieces of paper. He's lost in his own little world, so you pull him by the hair to bring him back to you. Once he sees what your wearing he gets hard because (1) it's you and (2) he was able to pay for the outfit with his books!!!! The fuck!! David, being David, proceeds to chatter on about the heroine and what she should do to one of her love interests, and it's a lot better than what he had going before you pulled him back to you. You have to sit on his face to get him to shut the fuck up, but that's hardly an inconvenience.

Joshua Madika Joshua would be a bit of a goof. I fully see you taking his credit card out on a spree, and he comes home to a mini fashion show where he gets hard at the idea of spending money on you. This man was built to be a sugar daddy, but if you tell him he can look, but can't touch, he'll respect that.

Sir Gawain I don't think they had lingerie in the middle ages, but I'm picturing something that likely has chains on it, and wouldn't be the most comfortable. There's a high chance that this would also link somewhat to medieval BDSM, and you are going to be teased within an inch of your life. Also, I feel like when your dressed up, your inside. IDK if I say this enough, but fucking Gawain outside 😛

[xcruelladcvil]

─◇ what does the world know about cruella de vil ? 

(ie. the wikipedia page)

ooc note: this is in-character public knowledge that other citizens of elias could research/already know about cruella's past.

> the early years.

the daughter of famous fashion designer and former model, malevola de vil, cruella rose to the top of fashion’s heights as a teenager. at eighteen years old, she released her first fashion line, with the help of her mother’s connections and her father’s financial backing ( her father, known mining tycoon, ernest de vil ). and in a matter of months she gained fame for her fresh designs and innovative ideas. 

between the ages of 18-23, it seemed like she did nothing but work and party. 

one of the things she’s most known for is being one designer who still relishes using real fur and real leather. her house had to go undergo a lot of investigations with ethical sourcing, but they all passed with flying colours.

“i live for fur, i worship fur. after all, is there a woman in all this wretched world who doesn't?” ( cruella de vil, quoted outside the house of de vil, london, 2009 )

she had a famous photoshoot with annie leobovitz where cruella posed with various animals, and she donated money to various animal welfare organisations to show her support.

> a falling career.

however, in the same amount of time, there were other designers rising as well. most of cruella’s 20s were spent fighting to stay on top. 

“the main problem she’s encountering here is … well, it’s not that her designs aren’t good, it’s just that everyone else’s is just as good or even better. it’s an especially difficult time to be a rising star in fashion. are you still rising if everyone around you is too? cruella simply can not stand out. the house of de vil is doing well, but it’s not exceptional. she’s still famous, but not notorious. it’s a tough nut to crack.” ( vogue journalist andy sachs, in an interview during paris fashion week, 2011 )

slowly she picked off each designer one by one, each strategic defeat of her contemporaries feeling like a timebomb ticking away. and still, it didn't feel like enough to cement her at the top.

“i want to swim in a pool of gold and furs. i want to bathe in silk and dye my red heart to the perfect shade. is that too much to ask?” ( cruella de vil, vanity fair quote, 2011 )

what made it even worse was that anita was rising to the top too. 

in her late 20s, she started doing animal prints. zebra stripes, cheetah patterns. she got a little bit of attention here, as she was playing with these patterns in a fresh new way. but there was a creative block. things started to get repetitive. lots of people in her network began to lose faith in her innovation. for years, she had a dry spell.

and then, aged 32, the announcement was made: spots. and it was all downhill from there.

> downfall, accusations of animal cruelty, london fashion week ‘stunt’

no one knows exactly what was happening in the house of de vil at this time. whistleblowers reported cruella was trying to drive home the idea of actually skinning dalmatians, sourcing them through dubious means. many stated that cruella’s designs were impeccable, inspired, really. but cruella was known for her furs. and she wasn’t about to stop anytime soon. 

quickly, the house lost its sponsorships and cruella’s network began to fade. no one wanted to be associated with rumours that everyone knew in their hearts to be true. cruella de vil has always had a shadow of suspicion around her, but now the veil was being thrown off. she was uninvited from london fashion week. stores took her designs off their racks. investigations were launched once more over the house of de vil’s ethical practices.

for two months, no one heard from cruella nor the house of de vil. 

then at the fashion show of anita darling, she came back. 

“ it was … it was positively barbaric. we already heard there was some sort of kerfuffle happening in the dressing rooms — of course now we know it’s because cruella had people splatter all of anita’s outfits in black. ” ( anonymous witness, london fashion week, 2019 )

“ — there was an abnormal delay. and then lots of screaming. cruella came out in a dress with a huge train … i think the train was a messy stitch of all of anita’s previously released designs … and then she dumped all this paint onto the runway. god ! you should’ve seen everyone’s faces. she must’ve got the good stuff ‘cause i couldn’t get it out of my hair for days. black and white all over the place. ” ( anonymous witness for the ny times, london fashion week, 2019 )

after the stunt, cruella and her team disappeared. reports saw her showing up in her country manor, named ‘hell hall’ by the locals (real name: hellman hall). while police reports were drawn up and charges made, all charges were dropped within a month and no further action seemed to be taken against cruella de vil. 

> resurgence ( late 2021 to present )

cruella de vil effectively disappeared off the news radar for nearly two years.

in late 2021, a surprise interview came out with vogue. in ‘the de vil repenting’, she was interviewed at her hotel room in london, and it detailed how she had been in rehabilitation and seeing various psychologists and psychiatrists since 2019. 

“ cruella appeared as if muted; her iconic black-and-white hair was swept back with a hairscarf, and the black of her clothes seemed dull. it had to be a conscious choice. for the first fifteen minutes of the interview, it felt like i was speaking with someone completely different, and what this means i don’t know. but then she smiled, at some inane joke about taking a vacation on the greek islands, and there was the cruella we all remembered: sharp and unsettling, but still unbelievably magnetic. ” ( paragraph 1, ‘ the de vil repenting’, 2021 )

in the interview, she expressed how the past few years had been difficult. the death of her mother had been part of her ‘breakdown’ leading up to 2019’s london fashion week. 

“ i feel terrible for my darling anita … she was the one bridge i never wished to burn. but i can’t blame her and her family for how they may feel towards me … i accept the blame, but i do wish to move forward. ” ( cruella de vil, quoted in ‘the de vil repenting’, 2021 )

following her mother’s death, her father also fell ill months later. 

the sudden reminder of mortality, according to cruella, inspired her to finally make a change. she knew she wanted to come back to fashion, but she was working on the best way to marry the old cruella and the new cruella. 

“ i’m still the same old me … i don’t wish to change all of me, there has to be some part of me that’s good after all … but i know i cannot continue hurting everyone the way i have in the past. fashion is my one true love, i could never part with it. but i know now there is no future in fashion with animal byproducts. which is why i’m taking my time … i’m talking with the best experts … i will be better. ” ( cruella de vil, quoted in ‘the de vil repenting’, 2021 )

the vogue interview ‘the de vil repenting’ coincided with the house of de vil’s return to the runway, in a small fashion show in london. 

since then, cruella has released only a handful of new pieces each season. she seems to be taking it slow, truly showing a thoughtfulness to the production of fashion in a way we haven’t seen yet in the house of de vil. 

her next move is moving to the city of elias, california, and building her new main house of de vil there. 

time will only tell if this ‘good will kick’ will stick. 

> personal life.

cruella de vil has been married twice. one to a rock star, in las vegas, and they divorced two days later. one to a famed mountain climber, married for three years, then divorced. 

she currently has a rescue pet (breed: chinese crested) named ‘adam’. 

she is now based in elias.

[amphtaminedreams]

Currently Obsessing Over, Debrief No.3: All Hail Queen Vivienne Westwood & Here’s to her Eternal Reign

-Vivienne photographed in June 2012-

“Fashion: I really love doing it. It’s really a kind of lifeline to me. It’s recharging my batteries. It’s exciting. I love what we’re doing, and I think the next thing we are doing is the best thing I have ever done. Because it’s totally political.”

-With Chrissie Hynde & Jordan at the SEX boutique in Chelsea, 1976-

-Clockwise L-R: making an appearance on the runway with husband Andreas Kronthaler at the Andreas Kronthaler for Vivienne Westwood 2016 Menswear collection, in 1976 with Chrissie Hynde & Jordan, c. 1976, and in 2012 in her studio-

-in attendance at memorial for Vivienne @ Southwark Cathedral, Friday 17th February 2023, centre: Lila & Kate Moss, clockwise L-R: Alexa Chung, Matty Bovan, Christina Hendrix & husband, Helena Bonham Carter, Ellen von Unwerth, Farida Khelfa, Lucinda Chambers, Elle Fanning-

-Anson Boon in attendance at memorial for Vivienne @ Southwark Cathedral, Friday 17th February 2023-

Look, I am far from a royalist but as London Fashion Week draws to a close, the weekend saw a who’s who of the fashion mourn a Queen of the people whose crowning would’ve truly made me reconsider my position. It goes without saying that the impact Vivienne Westwood has had on both her contemporaries and a younger generation of up and coming designers is monumental, but above and beyond that, what made her such an incredible individual was the consistency with which she stuck to her principles over the years and championed a fairer world, free of structural barriers, discrimination and the destructive force of rampant capitalism on the earth. 

-Upper left portion: Vivienne Westwood RTW S/S 2016, & bottom right: Vivienne Westwood RTW S/S 2017, then whole image clockwise L-R: Vivienne Westwood RTW F/W 2010, & RTW F/W 2009-

-Charles Jeffrey LOVERBOY collections, Clockwise L-R: Menswear RTW F/W 2020, RTW F/W 2022, RTW Menswear S/S 2018, RTW S/S 2023-

-Undercover collections, clockwise L-R: RTW F/W 2011, RTW F/W 2013, RTW S/S 2004, RTW S/S 2009, RTW S/S 2011-

-Matty Bovan collections,  L-R: RTW F/W 2018, & S/S 2019-

-Ambush Resort 2023-

-Vivienne Westwood RTW, top to bottom: F/W 2007, S/S 2013-

-Undercover collections, L-R: RTW F/W 2019, RTW S/S 2022, RTW F/W 2020-

-Stella McCartney collections, L-R: RTW F/W 2018, RTW F/W 2017, F/W 2020-

-Undercover collections, upper left portion, clockwise L-R: RTW F/W 2003, RTW F/W 2015, RTW S/S 2005, RTW S/S 2007, then whole image clockwise L-R: RTW S/S 2015, RTW S/S 2014, RTW F/W 2014-

She didn’t have to be That Bitch, in an industry which too often actively worked and continues to work against her goals, but she did at risk to her own success, and she made some fucking incredible clothes whilst she was at it.

Vivienne had every capability of being a thorn in the side of the industry figureheads operating business models domineered by overconsumption and yet her legacy will outlive every trend cycle imaginable ten to the dozen, reminding us that above all, principles & passion are the best thing we have if we want to truly make in impact.

-12 Emerging Designers on How Vivienne Westwood Inspired Them, AnOther Magazine, Autumn/Winter 2021 issue-

-”Pirates” collection, 1981: Though by this point Vivienne had already established a name for herself within the industry, namely through the widespread popularity of the Chelsea boutique she opened with partner Malcolm McLaren in 1971 and her work styling the Sex Pistols, whom McLaren managed, it wasn’t until a decade later that she made her runway debut with her “Pirates” collection. And you know what? She was so right for that. These are men who sail the world in pursuit of Jewells, ffs. How historically accurate that statement is, I have no clue; Peter Pan probably isn’t the best frame of reference. All I know is that ruffles and Jewells and big hats and bold patterns are absolutely my cup of tea and all those of us girlies with a preference for maximalism owe Vivienne Westwood a thank you for helping the stiff upper lipped power players of that period realise that.-

-”Britain Must Go Pagan” collection, S/S98 RTW-

-Clockwise L-R: Vivienne Westwood RTW F/W 1993, RTW S/S 1994, RTW F/W 1994, RTW S/S 1997, RTW F/W 1995, RTW S/S 1994-

-Arguably, the early years of Vivienne’s runway residency was characterised by a consistent drive to dissect, explore, and push the boundaries of the fashion of bygone eras through her work in a provocative, tongue in cheek kind of way, but one that ultimately showed her knowledge and love of fashion. Her flirtation with the whimsical, ethereal hallmarks of romantic period dressing and references to the costume-like decadence associated with the nobility and wealth of the post-renaissance world helped to torpedo a giant, jagged hole through the perfectly polished wall high fashion had built around itself to retain its status as an interest reserved for the privileged. 

Vivienne’s growing cultural relevance occurred in the midst of the 90s grunge movement that banished the illusion everything had to be perfectly refined at all times, and championed the gaudy, the over the top, the playful, controversial and performative. This time, counterculture was unruly, broody, and intentionally unyielding in a way that closely harked back to the values of the ‘70s London punk scene where VW had started out, and so it makes sense that interest in her work grew given the position her clothing came to be associated with in this decade

I don’t claim to be enough of a fashion expert to know the complete history of costume piece inspired designers and to be able to say Vivienne was the very first to bring this subversion of the expectation to appear aloof, elegant, and let’s be honest, occasionally boring as fuck, to the runway through her exploration of period clothing but she has to be one of the first to bring such a playfulness to it and her collections at the time certainly helped to reignite the childhood desire that exists in every person interested in fashion to play dress up.- 

-Christian Dior Haute Couture F/W 1998, “Les Incroyables” collection-

-Christian Lacroix Haute Couture S/S 1998-

-Vivienne Westwood RTW F/W 1996-

-Christian Lacroix Haute Couture S/S 1999-

-Clockwise L-R: Vivienne Westwood RTW S/S 2013, RTW S/S 2012, RTW S/S 2014-

-Christian Dior Haute Couture S/S 1998-

-Vivienne Westwood RTW S/S 1996-

-Clockwise L-R: Vivienne Westwood RTW S/S 2010, RTW F/W 2015, lower right portion: RTW Menswear F/W 2017, RTW F/W 2011, RTW Menswear F/W 2017, & RTW F/W 2011-

-L-R: Vivienne Westwood Bridal Made to Order 2022, Vivienne Westwood Bridal Made to Order 2020.

Marriage:

*Reasons AGAINST: too many to list 

*Reasons FOR: Vivienne Westwood’s bridal collections (and also a big party with all your friends that they feel morally obligated to attend, where you get to pick all the food and cheesy music is socially acceptable)-

-Vivienne Westwood Bridal Made to Order 2021-

-She further developed her brand’s reputation as a disruptor of the status quo in a time which saw young people in the Western world grow tired of the straight laced conservatism of the Thatcher/Reagan (forget Charlie Kelly and Frank Reynolds, these 2 were the OG gruesome twosome) and the tastemakers of the fashion world followed suit, lauding her work. As much as the impact of massive industry players is portrayed as having a trickle down effect (see what I did there) on the trend cycle, designers inevitably draw inspiration from the current social climate whether acknowledged or not and in this way the aesthetics adopted by boots on the ground, the influence of art and pop culture, makes its way back up to the runway where the Anna Wintours of the world have to like it. For people like Vivienne Westwood, Rei Kawakubo (founder of Commes Des Garcons), Ann Demeulemeester, and Yohji Yamamoto, who occupied much of the same avant-garde, anti-establishment scene from the ‘70s onwards with all 3 having been customers at Vivienne’s boutique and setting up shop in London at one point or another, incorporating that disruptive spirit probably felt like a return to their roots as designers.-

-Vivienne Westwood Bridal Made to Order 2019-

-Yohji Yamamoto collections, L-R: RTW S/S 2015, & S/S 2016-

-Vivienne Westwood RTW, top to bottom: F/W 2008, S/S 2012-

-Yohji Yamamoto RTW S/S 2023-

-Vivienne Westwood RTW, top left: S/S 2009, remaining photos: S/S 2011-

-Top to bottom: Ann Demeulemeester RTW F/W 2019, & RTW F/W 2017-

-In this period where anti-fashion established itself as an integral part of what was decidedly “in”-fashion, new roots, which would go on to produce some of today’s boldest designers, buried themselves deep and inevitably soaked up Vivienne and her contemporaries’ celebration of androgyny, experimentation with subversive silhouettes and prints, and embrace of the dark and dramatic to tell stories through their styling which served as the antidote to the immaculate coordination of looks showcased by fashion giants like Chanel. Vivienne collections managed to grasp hold of the psyches of even the most prestigious designers, and the lasting effects were visible in the heavily period themed, almost theatrical collections, the debuts of which broke the expected mould for labels traditionally associated with a sense of refinement and/or glamour. That Donatella Versace, for example, would draw influence from punk aesthetics is unexpected but once you’re aware she’s expressed her admiration for Vivienne Westwood, there are a number of Versace collections over the years where you can’t unsee that inspiration. John Galliano was known to sit front row at her shows! John Galliano. That, baby, is one mighty flex.-

-John Galliano collections, top to bottom: RTW S/S 2018, RTW F/W 1997, RTW S/S 2019-

-Valentino RTW F/W 2005-

-Versace collections, L-R: RTW F/W 2017, RTW F/W 2013, RTW F/W 2018-

-John Galliano RTW F/W 2018-

-Ralph Lauren RTW F./W 2016-

-Vivienne Westwood RTW, upper left portion, clockwise L-R: F/W 2016, “, “, RTW F/W 2016, then whole image, clockwise L-R: RTW S/S 2015, RTW F/W 2012, F/W 2013, & F/W 2012-

-Versace RTW S/S 1994-

-John Galliano RTW S/S 1993- 

-You could argue the prevalence of Westwood gowns amongst the rich and famous is kinda antithetic to its founder’s manifesto but we can’t be delusional and forget it’s a high fashion label we’re talking about and well, a business. Ultimately the craftsmanship and time which goes into original designs means red carpet photos are probs the closest 99% of us are gonna get but I’ll take it. I’m thirsty. Helena Bonham-Carter, one of the many prominent figures in attendance at Vivienne’s funeral, kinda symbolises the dichotomy; as much as her public image is of her as someone who exists outside the boundaries imposed by a privileged, aloof, very airbrushed elite, we are talking a woman with a double-barrelled family name which carries with it the exactly the kind of wealth and lineage you’d expect it to. But at the same time, she is someone who has chosen to break away from the expectations set upon her by this kind of background and do things her own way. Not so much so that her whole mismatched, slightly dishevelled whilst simultaneously very cool outer appearance isn’t made up of expensive, designer subcomponents, but if you’re going to have some brand loyalty, Helena being a Vivienne simp feels correct:

“I have an obscene amount, a sinful amount of her clothes. Decades’ worth. She wouldn’t like it, given she was always telling us to buy less.” Helena recalled buying her first pirate shirt, aged 15, from Westwood’s shop in World’s End “so I could be Adam Ant.” She explained how she once reprimanded a red-carpet journalist who asked why she always wore Westwood, because it was always “the same, same, same.” Bonham Carter replied: “No, no, no…. You have no idea how many ideas and choices have gone into this dress. She is never boring. And the dresses do all the work. All the actresses on this red carpet haven’t eaten for weeks—and I have had a full-fat English breakfast.” Of wearing Westwood she said: “I feel like who I want to be. I feel like a woman…. She has given me my armor to face the world for so many years.” She added: “Thank you for the cutting, the draping that makes your clothes so dynamic and alive, so much so that I wouldn’t be surprised to wake in the night and find them dancing in my closet, alive.”

-Extract from “Vivienne Westwood is Remembered in London” Vogue article, Luke Leith, published 17th February 2013 @ https://www.vogue.co.uk/news/gallery/vivienne-westwood-memorial-

-Helena Bonham Carter in Vivienne Westwood-

-FKA Twigs wearing Vivienne Westwood, photographed for her zine, published May 2019-

-You can’t talk about Vivienne’s impact on street style and its adoption by today's anti-it girl (which in itself has made her kinda the ultimate it-girl in my eyes, lmao) without a section dedicated to FKA Twigs, whose love of the designer is evident in her ethereal take on ‘90s grunge inspired fashion. If anyone doubts the existence of Vivienne’s influence on Twigs’ street style, may I gift you with knowledge that she included an absolutely STUNNNNINGGG feature about her whole COLLECTION of VW corsets in her zine. Money can’t buy you happiness but it can buy you archival designer pieces by the Grand Dame of Punk (no, I’m not talking about Karen from RHoP) and the ability to circumvent a year long waiting list for treatment of your ailments on the NHS sooo I mean…we’re talking substantial quality of life improvements here.-

-FKA Twigs personal style-

-Public figures in Vivienne Westwood over the years, upper left portion, clockwise L-R: Dua Lipa on the red carpet @ the 2021 Brit Awards, Kim Kardashian via Instagram backstage @ the 2019 Emmys, Winnie Harlow on the red carpet @ the 2019 British Fashion Awards, Kim Kardashian photographed in 2019, Kristen Stewart hosting SNL in Vivienne Westwood suit in November 2022, Lashana Lynch on the red carpet @ the No Time to Die premiere in 2021, Jade Thirlwall on the red carpet @ the 2021 Brit Awards, Elle Fanning on the red carpet @ the 2021 Vulture Festival, upper right portion: Bella Hadid’s street style ft. a love of Vivienne Westwood, bottom right portion, clockwise L-R: Dua Lipa on the red carpet @ the 2021 Brit Awards and on stage for the event, Billie Piper @ the 2021 UK Fashion Awards, Thandie Newton on the Cannes Red Carpet in 2018, Rihanna performing @ the 2012 Victoria’s Secret fashion show, Zendaya on the red carpet @ the Art of Elysium gala in 2016, Maude Apatow via Instagram photographed @ the 2022 Emmys afterparty, Alexa Demie @ an event for Tiffany & Co. in 2022, bottom left: Winnie Harlow on the red carpet @ the 2020 Vanity Fair Oscars afterparty-

-Vivienne’s personal style over the years, clockwise L-R: making an end of show appearance in December 2011, photographed c. 1995, @ the V&A museum in London in 1998, with Naomi Campbell at the 1993 Designer of the Year Awards, @ the opening of the Costume Institute’s Anglomania exhibition in 2006, with husband Andreas Kronthaler at Ascot in 1995, photographed by paparazzi c. 2009-

-Vivienne Westwood’s “Portraits” collection, 1991-

-You really can’t talk about the common appeal of Vivienne Westwood and the label’s legacy without an acknowledgement of the irreverence of the Portraits collection, which most likely constitutes the strongest imagery of the brand in most people’s minds. For all that rambling on I did about her challenging fashion conventions, the corset is probably, like, one of the most stereotypically feminine garments out there, and so it seems contradictory that it’s probably the most famous VW piece. That being said, you just have to look at the earliest prominent iteration of the staple showcased in Portraits; the way the shape was utilised flew in the face of all that was conventional and “demure” through its combination with religious iconography, micro skirts and nude illusion cut outs, in the ‘80s ffs, so need I say more about what it is that made it so groundbreaking? It was a moment that was emblematic of the middle finger to the world attitude that Vivienne’s collections are known for, and which makes it such an iconic, and true to brand piece that is still loved, emulated, and collected by a very lucky few today.-

-Vivienne Westwood RTW S/S 2023-

-It’s only half the picture to say Vivienne’s participation in the fashion industry contradicts her personal politics, which completely ignores how much of her fortune has been redistributed through her activism over the years; to advocate for her brand is to advocate for the anti establishment mission she has made an inextricable part of it, which over the past few decades has ranged from her vocal commitment to fighting climate change, her stance on sustainability, her support of Chelsea Manning and Julian Assange, and notably her Ethical Fashion Africa campaign, shots from which feature below.-

-Andreas Kronthaler for Vivienne Westwood RTW, clockwise L-R: S/S 2008, S/S 2007, S/S 2019, “-

-Andreas & Vivienne at Paris Fashion Week, 2nd October 2021-

-Andreas Kronlather for Vivienne Westwood RTW, top: S/S 2016, bottom L-R: S/S 2018, S/S 2014-

-”, top L-R: RTW S/S 2006, RTW F/W 2014, & bottom: RTW S/S 2023-

Ending with the content Vivienne would most likely find to be closest to her heart is a reflection on the Andreas Kronlather for Vivienne Westwood, surely the purest form of her punk spirit that will go on without her. Undeniably, Vivienne has had no greater influence on anyone than her husband, Andreas, with whom she publicly entrusted the more affordable offshoot of her brand, and whose creative relationship first began when he began working under her wing in the late ‘80s. They were artistic geniuses, revolutionaries, and basically the much more aspirational version of the rockstar bf/gf model bc/gf duo. Above all they were cutie pies<3 

-Andreas Kronthaler for Vivienne Westwood RTW, clockwise L-R: S/S 2010, “, F/W 2017, & F/W 2015-

-”, L-R: RTW S/S 2017, RTW S/S 2009, RTW F/W 2016-

Though for the majority of the 30+ years they spent collaborating Andreas chose to be a silent contributor, the name change of the red label offshoot to Andreas Kronthaler for Vivienne Westwood was the clear realisation of his journey in becoming an equal partner and suggests that over time, the direction of influence evolved from the latter over the former to a much more reciprocal force.

-”, L-R: RTW F/W 2012, RTW F/W 2018-

-”, left portion: RTW F/W 2010, top right portion: RTW S/S 2011, bottom right portion L-R: RTW F/W 2013, RTW F/W 2011-

-”, L-R: RTW S/S 2006, RTW S/S 2014-

-”, L-R: RTW F/W 2019, RTW S/S 2015-

 I’m going to get real cheesy here but I have to say it: there is no doubt that whilst he continues to showcase his designs, Vivienne’s presence in the industry will not cease to be felt. Regardless-we’ll miss you anyways, Queen.-

-Vivienne photographed at the end of her RTW F/W 2016 runway presentation, February 2016-

-Vivienne photographed attending premiere screening at Regent Street Cinema, November 2022-

Vivienne Westwood, April 1941-December 2022

[sian4chatsworth]

Race

How Diversity Changed Fashion

Prada's advertising campaigns didn't feature a black model for 19 years until Malaika Firth was cast in 2013. Before that, the last model to be featured was Naomi Campbell in 1994, the year Firth was born. After taking over in 2009, Celine's Creative Director Phoebe Philo didn't use any black models in her runway shows until SS14.

Beverly Johnson

Beverly Johnson was born on October 13, 1952, in Buffalo, New York. She began her career in the 1970s and quickly rose to fame, becoming the first African American models to gain mainstream success in the fashion industry.

Her Influence On The Fashion Industry

Beverly Johnson has had a significant influence on the fashion industry. She was the first African-American woman to appear on the cover of Vogue in 1974, breaking barriers and opening doors for models of colour who had been underrepresented in the industry. This was a significant moment in fashion history as it helped pave the way for more diversity and representation in the fashion industry.

In recent years, Johnson has continued to be an advocate for diversity and inclusion in the fashion industry and has been honoured for her contributions to the industry. She continues to be an inspiration and role model for many young woman of colour who are following in her footsteps.

Will SS21 Be A Turning Point For Diversity?

"The fashion industry is one of the most influential industries and must use [its] platform responsibly," decreed Fashion For All Foundation, a non-profit promoting equality and diversity through education and empowerment. "Fashion sets trends, and needs to set the trend on creating an equal society."

Winnie Harlow

At just 25 years old, Canadian model Winnie Harlow has already changed the face of fashion. Since she was discovered by Tyra Banks on the 21st series of America's Top Model in 2014-competing under her real name, Chantelle Brown-Young-she's been central in the move towards a more diverse and inclusive fashion industry.

Harlow may not have won the competition, but she didn't need to. She's fronted campaigns for the likes of of Diesel and MAC Cosmetics, a regular on the catwalk and fashion's front rows and appeared on dozens of magazine covers, all the while raising awareness about her skin condition, vitiligo (which causes patches of pigmentation loss).

Following her first Vogue cover for Vogue Arabia, she said of her journey: "[It's] all to be able to tell, no, SHOW the world that representation matters. That beauty is within the eye of the beholder and no ones 'definition of beauty' should matter but your own".

So, how has Harlow shown us all how it's done in just 5 years? There have been some seriously standout moments both on and off duty. She turned up the sophistication to attend the Christian Dior Haute Couture SS18 show in black tuxedo trousers, open white shirt and thin-frame glasses; before taking a walk on the wilder side in thigh-high leopard boots and a yellow overcoat to attend the 10th anniversary party of Victoria Beckham during London Fashion Week SS19.

Fei Fei Sun

Fei Fei Sun also became a fashion first when she covered “Vogue Italia,” marking the first time a model of East Asian descent appeared on a solo cover for the Italian publication. The Chinese model’s career kicked off when Karl Lagerfeld selected her to walk Chanel’s Paris-Shanghai runway in 2009, and since then she has been a runway and campaign favourite for top fashion houses.

Mona Tougaard

Mona Tougaard has landed some major campaigns in the past several seasons, including Burberry, Chanel, Chloé, Loewe, Max Mara, Prada and Versace. At just 17, the Danish model-whose heritage is a mix of Somalian, Ethiopian, Danish and Turkish-has already graced i-D Magazine’s April 2020 cover and has most recently modelled in Chanel’s pre-fall 2020 show.

Harvard Referencing:

Fig 1. WITKIN, C/TRUNKARCHIVE. (N/A) Supermodel Beverly Johnson. [Photograph] Available from: https://www.telegraph.co.uk/fashion/style/beverly-johnson-us-vogues-first-black-cover-star-hit-arrows/. [Accessed: 6th September 2023].

Fig 2. GETTY. (2018) Christian Dior Couture summer/spring 2018. [Photograph] Available from: https://www.vogue.in/fashion/content/how-winnie-harlow-has-changed-the-face-of-fashion-so-far [Accessed: 18th September 2023]

Fig 3. OH, P. (N/A) Shop the Street Look: Fei Fei Sun’s Spin on a Classic. [Photograph] Available from: https://www.vogue.com/article/shop-street-style-fei-fei-sun [Accessed: 25th September 2023]

Fig 4. GETTY. (2021) Mona Tougaard opted for Alaïa for this year’s Fashion Awards. [Photograph] Available from: https://www.voguescandinavia.com/articles/mona/tougaard-paints-the-town-red-at-the-fashion-awards [Accessed: 25th September 2023]

STOPPARD, L. (2016) How Diversity Changed Fashion. [Online] Available from: https://www.elle.com/uk/fashion/trends/longform/a31200/diversity-in-fashion/ [Accessed: 18th September 2023]

KUMAR, M. (2023) Beverly Johnson: As a Fashion Icon. [Online] Available from: https://www.tutorialspoint.com/beverly-johnson-as-a-fashion-icon [Accessed: 6th September 2023].

NEWBOLD, A. (2020) Will SS21 Be A Turning Point For Diversity? [Online] Available from: https://www.vogue.co.uk/fashion/article/diversity-fashion-ss21 [Accessed: 6th September 2023].

VOGUE. (2019) How Winnie Harlow has changed the face of fashion... so far. [Online] Available from: https://www.vogue.in/fashion/content/how-winnie-harlow-has-changed-the-face-of-fashion-so-far [Accessed: 18th September 2023]

CAVALLO, A. (2023) 21 Asian Models Who Shaped the Fashion Industry. [Online] Available from: https://www.lofficielusa.com/fashion/asian-models-fashion-industry-heritage-month [Accessed: 25th September 2023]

HOLZMAN,S. (2020) The Generation of Models to Watch Right Now. [Online] Available from: https://www.marieclaire.com/fashion/g32801166/top-models-2020/ [Accessed: 25th September 2023]

[unchataparis]

Miraculous x High Fashion Pt. 3

Félix x London x Burberry

I'm not calling Félix boring, I'm just saying out of all his lot, he's least fashion-adventurous and most likely to adhere to a monochrome colour palette.

That isn't to say that there isn't plenty to commend about English fashion. London high fashion, especially, has become synonymous with the idea of punk, alternative lifestyles, and rebellion against properness. Just ten years ago, women were wearing sensible skirts and are expected to uphold the symbol of feminine housekeeping, and then in the sixties and seventies, as the punk rock and underground moment exploded, the English youth were running the streets in black leather, platform boots, and torn jeans. Think Vivienne Westwood as the archetypal London fashion, think Cruella (2009) and Hobie Brown.

No matter how proper and well-behaved he looks, Félix is the most just-minded and proactive member of his tribe. Even more than Adrien, Félix is always willing to do the right thing, even if it means going against polite society and breaking a few rules.

Burberry is characterised by its beige aesthetic, tartan pattern, and legendary trench coat, sure to show up at each Fashion Week with a new twist but classic, recognisable shape. Heritage, craftsmanship, and innovation is at the heart of the Burberry story. Fashionable, and possible to wear through heavy Arctic expeditions. Burberry doesn't just look good, it can actually protect the wearer from British weather. The ethos of the house lies in its durability, sensibility, and timelessness.

[phanfictioncatalogue]

Rock Star AU Masterlist

Accidents Don't Just Happen Accidentally (ao3) - AHedgehogNamedMoose, Later

Pastel Dan is forced to take his little cousin to the concert of punk pop sensation Phil Lester, but winds up accidentally meeting him and having an amazing night - and incredible few weeks - with the boy.

Groupie (ao3)- Nefertiti1052 (Succubusphan)

Dan follows a punk band with a hot lead singer around a lot but feels crushed when he watches a live interview.

Growth of Plastic Flowers (ao3)- orphan_account

Dan is a famous musician who started out on Youtube all the way back in 2009, known for his dark lyrics that contrast with his closet of various pastels. Now, a trip to Japan for a music video shoot may lead to uncovering secrets from his past that he's desperately tried to forget for years.

This is the story of a boy who feared love and the other whom he fell for.

Million Dollar Man (ao3) - Lcstqr

❝ baby you're no good for me ❝

Daniel Howell is somewhat of a Rockstar. A Rockstar with anxiety. After a breakdown on stage at one of his biggest concerts, he reluctantly seeks therapy. It just so happens that his new therapist also plays guitar in a band that he'd never heard of in a club that he'd stumbled across only that night. He also has a secret, a big one. From watering plants and making them instantly healthy to changing the weather depending on someones mood, Dan starts to unfold Phil Lester's secret.

Just try not to fall in love with your therapist.

Misplaced (ao3) - jilliancares

Summary: Phil wakes up in an alternate universe. And then Phil… wakes up in an alternate universe. Both Phil’s try to navigate back to their own life while simultaneously trying to deal with each others’. (AKA YouTuber!Phil tries to deal with the fact that he’s in a band and he and Dan are enemies, and Band!Phil tries to understand how in any universe he and Dan could be lovers.)

Scandalous (ao3) - phancontent

Daniel Howell, a well known "emo glam star", a singer and a fashion icon, faces a writing crisis and decides to hire an unemployed famous songwriter named Phil Lester, who can't stop blushing with every grin Dan gives him.

We Don't Have Much Room To Live (ao3) - starrywrite

“And I had these dreams that I would learn to play guitar, maybe cross the country, become a rockstar. And there was hope in me that I could take you there, but dammit you’re so young - well, I don’t think I care” - Something Corporate, Konstantine.

(Band!AU. Phil and his band are about to embark on their first tour, and his boyfriend - and biggest fan - Dan is coming along for the ride. What could possibly go wrong?)

We'll Figure This Out (ao3) - violently_knits

Summary: Dan Howell is in a rock band called Burn This City Down. When Phil Lester, the band's manager, is assigned a bunk on his tour bus, they start to get closer and closer.

You're Too Good For Me (ao3) - satans_spaghetti

Daniel Howell is an exhausted singer who just wants a normal life with people who don't treat him like he'll curb-stomp them if they get one thing wrong.

One day after walking to nowhere in particular, he gets caught in a storm and takes refuge in a small, bright café that's just as cute as it's manager, a bubbly barista.

You should be loving someone (ao3) - orphan_account

Daniel Howell is a musician on break from touring for a few months. He’s staying in London and just trying to relax and be alone before going on the next tour stretch. When he meets Phil Lester, a children’s book author looking for a change, he’s not so sure that he wants to stay alone.

[timesofinnovation]

Caroline Rush, the esteemed CEO of the British Fashion Council (BFC), has announced her intention to step down from her role, effective June 2025. This decision marks the conclusion of a remarkable 16-year tenure, during which Rush has significantly transformed the BFC into a resilient and forward-thinking organization. The BFC's announcement, made on Thursday, confirmed that Rush will continue to guide the organization until her departure while a search for her successor commences immediately. The executive search is being managed by Egon Zehnder, a leading management consultancy. This transition period offers the BFC a unique opportunity to reflect on its achievements under Rush’s leadership and to plan strategically for its next chapter. Caroline Rush joined the BFC in 2009 after founding a successful public relations firm. Since ascending to the CEO role, she has overseen a significant increase in the council's revenue, which has more than doubled during her leadership. This growth is especially notable given the turbulent backdrop of events like Brexit, the COVID-19 pandemic, and the fluctuating luxury market. Each of these challenges has tested the resiliency of the fashion industry, and under Rush’s guidance, the BFC has adapted its strategies effectively. David Pemsel, the chair of the BFC, has lauded Rush’s dynamic and agile leadership style, particularly in navigating some of the most challenging periods for the fashion sector. Pemsel has committed to extending his tenure as chair until the end of 2025 to facilitate the search for Rush's successor. His support highlights the importance of stability and continuity during this transitional phase. Among Rush's notable contributions to the BFC is the establishment of the BFC Foundation, an initiative that has emerged from two charities she previously launched. Since its inception in 2020, the Foundation has made impressive strides, donating £4.3 million (approximately $5.7 million) to assist designers and elevate their businesses. This philanthropic effort demonstrates Rush's commitment to nurturing talent within the industry, especially vital in a landscape where emerging designers face enormous pressure. Reflecting on her time at the BFC, Rush states, “After 15 years in service to the industry, I am ready for a new challenge. Having built the organisation’s resources back to better than pre-pandemic levels, it is in a great position to continue its essential work with new leadership.” This sentiment encapsulates her forward-looking approach, one that prioritizes the ongoing support and enhancement of the UK fashion landscape. The implications of Rush's departure extend beyond her individual achievements. The fashion industry in the UK is currently at a crossroads. With consumers shifting preferences, sustainability becoming a priority, and the competitive landscape continually evolving, the BFC's next leader will have a crucial role in steering the industry towards a promising future. The successor will need to build on Rush’s legacy while addressing new challenges and opportunities. The upcoming transition also occurs as London Fashion Week continues celebrating its 40th anniversary. The industry finds itself amidst a burgeoning creative spirit despite the economic pressures threatening young labels. As designers showcase their talents at this prestigious event, the BFC's future leadership will need to balance innovation with sustainability and inclusivity, as these aspects become increasingly important to consumers. The search for Caroline Rush’s successor promises to be an eventful journey as the British Fashion Council seeks an individual who can uphold and enhance its mission while navigating the evolving fashion landscape. Whether it is through digital transformation or prioritizing diverse creativity, the new leadership will be instrumental in shaping the future of British fashion on a global scale. As we approach this pivotal moment for the BFC, it becomes

essential to recognize not just the accomplishments of Caroline Rush but also the path forward for an industry that is more than just a business; it is a cultural cornerstone that requires adept leadership and vision.

[elxctrics]

(—) ★ spotted!! BROOKE HAWKER ALBRECHT on the cover of this week’s most recent tabloid! many say that the 34 year old looks like EMILY RATAJKOWSKI, but i don’t really see it. while  the FORMER REALITY TV STAR/CREATIVE DIRECTOR OF VOGUE is known for being METICULOUS my inside sources say that they have a tendency to be IMPATIENT i swear, every time i think of them, i hear the song YOU SHOULD SEE ME IN A CROWN by BILLIE EILLISH { SHE/HER, CISFEMALE }

  ˗ˏˋ ＊ ‣ 𝐥𝐢𝐧𝐤𝐬    :  

connections || musings || instagram || headcanons

𝓼𝓽𝓪𝓽𝓲𝓼𝓽𝓲𝓬����

name: brooke francesca hawker albrecht

age: thirty four

nicknames: none, she doesn’t do nicknames.

date of birth: january 3rd, 1990

astrological sign: capricorn

place of birth: london england

occupation: former reality tv star / current creative director of vogue

label: the queen bee

positive traits: meticulous, poised, chic, eloquent

negative traits: impatient, a perfectionist, judgmental, snobby

characters/celebrities she’s like: blair waldorf from gossip girl, lauren conrad from the hills, emily charlton from the devil wears prada, brooke davis from one tree hill, alexa chung, chiara ferragni, rachel zoe, mary kate and ashley (currently)

𝓫𝓲𝓸𝓰𝓻𝓪𝓹𝓱𝔂

being the first born daughter of francesca albrecht, the editor in chief of vogue, and sebastian hawker, an american business magnate, computer scientist and internet entrepreneur, brooke grew up being the absolute apple of her mother's eye.

despite their upper class status, brooke and her siblings grew up fairly normal, their parents always wanting to keep them humble and grounded and most importantly, hard working. they weren’t just handed the money they made, they earned it, and they wanted their children to do the same.

unlike her other siblings who went in different directions, brooke had always been glued to their mother’s side. from a little girl she was obsessed with the fashion world, often seen strolling hand and hand with francesca into the british vogue offices dressed to the nines while francesca worked on various projects as their creative director.

even as a little girl, she was known for being even more brutal than her mother, making sure her opinions were heard loud and clear and that everything was nothing short of perfection. and while most around the office found the demanding little girl funny, francesca realized that her daughter had true talent and an eye for fashion.

she attended private school and when college came around, she attended a year at central saint martins college of art and design, the most famous fashion school in the uk, and majored in fashion communications.

however, after a year there, her mother was offered the editor in chief position at vogue and when the opportunity to move to the states arose, brooke followed along with her family.

just because her mother was the editor of vogue, however, didn’t mean that brooke was simply going to be handed a career on a silver platter. her mother encouraged her to continue her studies and brooke made her headquarters in new york city, attending the fashion institute of technology.

living on her own in new york city thrust brooke into a new spotlight that she had never been in before. her family was famously private, but brooke began hanging out in the new york social scene of the fashion world - partying with models, photographers, designers and more and eventually, she became new york city’s biggest it-girl, much to the dismay of her father and especially, her mother.

however, brooke saw this as an opportunity. the world was obsessed with everything she was wearing, where she was eating, where she was partying, quite literally every aspect of her life, so, at just 20 years old, she headed to the mtv headquarters in new york city and pitched them an idea for a show, inspired by the life of her and her friends in new york city.

thus, in 2009, ‘soho’ premiered. (basically the new york version of ‘the hills’) and brooke and her friends catapulted into stardom - the world becoming obsessed with the groups fights, make-ups and break-ups and the way they lived their life every day in new york city. (there’s a bunch of wcs on my wanted page for her that goes more into the dynamics of her friends!!)

for five years, her life revolved around the show and after five seasons, she was absolutely mentally drained - sick and tired of everything she said and did being under a microscope. so, she left the show, that only lasted for one more season without her,, and moved to los angeles where her family was.

from 2012-2017, she lived pretty off the radar (very mary kate and ashley kind of vibes) and started her very own fashion brand called ‘the echelon’ and poured all of her energy into making that a success. she hired the best designers in the world and the most sought after team of creatives and after years of hard work and dedication, it became one of the most sought after brands in the industry.

however, in 2017, her world got shaken up when her father was under fbi investigation, which caused the split of her parents, and her sister, lily was in a career changing car accident.

she spent the next couple of years taking a step back from her line and focusing on being there for her sister and mother, angry with her father for doing this to the family.

her and her mother had been on the outs for years, francesca being completely against the reality tv direction that her daughter had gone into, but seeing how she stepped up for the family truly mended that gap between them and in 2020, francesca named brooke the creative director of vogue.

she’s come a long way from that party girl in new york city and brooke takes her role and her job incredibly seriously. she sold her fashion brand to lvhm for ten billion dollars, which was a record acquisition, and now eat, sleeps and breathes vogue.

after her father's recent legal battles, she changed her last name to 'albrecht', her mother's maiden name, completely cutting the man out of her life.

[rosamundpikesource]

Rosamund Pike at the ISSA Fashion show for London Fashion Week Spring/Summer 2009 on September 18, 2008.

Ph. Nick Harvey

[monsieurcouture]

Katie Eary F/W 2009 Menswear London Fashion Week

[katrinakaif65]

Katrina Kaif: From Hong Kong to Bollywood Stardom

Katrina Kaif's journey to becoming a household name in Bollywood is as unique as her background. Born Katrina Turquotte in Hong Kong on July 16, 1983 Wikipedia: Katrina Kaif, her childhood blended cultures. Her father, of British descent, and her mother, with Indian heritage, instilled in her a global perspective that would later influence her career choices.

Katrina's early life was marked by frequent relocations due to her father's work. She spent time in Hong Kong, China, Hawaii, and eventually moved to Mumbai with her mother at the age of fourteen. This exposure to diverse cultures honed her fluency in several languages, including English, Hindi, Marathi, and Konkani.

Despite having no formal training in acting, Katrina's natural beauty caught the eye of a modeling agency in Hawaii. This led to her first modeling assignment in a jewelry campaign. She then moved to London to pursue a professional modeling career, walking the ramp at London Fashion Week and working for various agencies.

However, India beckoned again. A visit to Mumbai for a modeling project sparked a Bollywood dream. With limited Hindi language skills at the time, Katrina's determination and perseverance landed her a role in the 2003 film "Boom." While the film itself wasn't a success, it opened doors for Katrina in the Indian film industry.

The turning point in Katrina's career came with a string of commercially successful films in 2007. Movies like "Namastey London," "Partner," and "Apne" showcased her charm and screen presence. She also gained recognition for her dancing skills in hit item numbers like "Sheila Ki Jawani" from "Tees Maar Khan" (2010).

Katrina wasn't afraid to push boundaries and experiment with diverse roles. She delivered powerful performances in films like "New York" (2009) and "Rajneeti" (2010), proving her acting chops went beyond just glamour.

Her pairing with actors like Salman Khan, Akshay Kumar, and Ranbir Kapoor further solidified her position as a leading lady and a box-office draw. Blockbusters like "Ek Tha Tiger" (2012) with Salman Khan and "Dhoom 3" (2013) with Aamir Khan cemented her status as a bankable star.

Beyond acting, Katrina is a successful entrepreneur. In 2019, she launched her own cosmetic line, Kay Beauty, showcasing her business acumen and interest in the beauty industry. She is also a vocal advocate for various charitable causes, particularly those related to children's education.

While Katrina maintains a private life, her relationships have often been in the spotlight. In recent years, she has been linked to actor Vicky Kaushal, and in December 2021, they surprised fans with a wedding ceremony.

Here are some interesting facts about Katrina Kaif:

Despite her success in Bollywood, she is a British citizen.

She is the first Bollywood actress to have a Madame Tussauds wax statue in London.

Katrina is a skilled dancer, trained in various styles including jazz, hip hop, and belly dancing.

Katrina Kaif's story is one of resilience, adaptability, and a constant pursuit of growth. From her international upbringing to her reign as a Bollywood superstar, she has carved her own path in the industry. With her captivating screen presence, dedication to her craft, and ever-evolving filmography, Katrina Kaif is undoubtedly a force to be reckoned with in Indian cinema and beyond.