Farewell Christophe Lemaire: what's next for Hermès?

Christophe Lemaire bids a final farewell from the runway at Hermès

In light of Christophe Lemaire's departure from Hermès, I thought I might review his final collection for the French fashion house and speculate on the future of the brand in the hands of its next appointed director, Nadège Vanhee-Cybulski.

The design vision of Lemaire and Hermès is one which I deeply admire. I feel as though the democratisation of fashion since social media has allowed fashion week to become more of a theatrical parade of outfit shots taken on the street than about the collections that generate a market pulse.

From this stems my total adoration for the Hermès vision. The brand has a long-standing reputation preceding Lemaire for being quintessentially Parisian. Alongside their signature silk scarves and iconic (I know that word gets thrown around too often but I feel it's appropriate) handbags such as the Birkin and the Kelly, is a womenswear line that is nothing short of elegant, demure and timeless. Hermès menswear is equally as seamless but I'd like to focus on Lemaire. Considering revenue at Hermès jumped 10 percent over estimates in the past year, it's going to be tough for the brand to let go of Lemaire, yet easier to envision his success through his final collection.

In my mind, Hermès epitomises minimalism and is a name that has become synonymous with luxury. In a time where fashion coverage and media is saturated with commentary on cult brands in the market like Alexander Wang, Givenchy and the aforementioned Jeremy Scott, Hermès exists for those who are truly focused on craftsmanship. Lemaire's final collection for the house encapsulated this notion entirely. 

Featuring crisp lines, relaxed fabrics and refined colour, it's everything you would expect from an Hermès collection. It's subdued luxury. I like to think it's Lemaire's homage to the brand he has worked tirelessly for since 2010. Under his creative direction, he spoke of his vision for the brand:


"I want… fashion that accompanies the personality,” says Lemaire. “Allowing freedom of movement and gesture, [the] clothes [should] allow a woman to be herself.”

I believe that in this sense, Lemaire has exceeded himself and that if his work at Hermès is anything to go by, the future of his own namesake brand will be held in high esteem by fashion critics. His successor, Nadège Vanhee-Cybulski, has quietly built a solid repertoire at houses such as The Row and Céline, which share a similar design aesthetic to Hermès - refined, minimalist, intelligent. With the sort of knowledge and experience gained throughout her career, I have an inkling that Vanhee-Cybulski will make a smooth transition into her role as creative director at Hermès, continuing the legacy of the fashion house that defines Parisian style. 

You can view the full collection here via Style.com

Wish List: Alice McCall Cruise 2014 Collection

I've written before about Alice McCall - one of my favourite Australian designers alongside Ellery. 

For some reason, I feel a deep affinity with Alice McCall. Perhaps it's because we are both London-born gals living in Australia. I just love everything about her story - from stylist to making and selling silk tops to the likes of Kate Moss, eventuating in the creation of her own widely successful brand. 

To me, her vision epitomises Australian style with an international audience in mind. Her collections are always light and playful with subtle nuances in the shape, cut and structure that would make even a Parisian girl turn her head in awe.

I have my eye on a few pieces from her Cruise 2014 Collection that I'm sure will become like treasured collectables in my closet.

The gorgeous editor of POPSUGAR Australia, Jasmine Garnsworthy wearing the She Has Funny Cars skirt ($220). The heart-shaped waist is so sweet. (Image via Instagram: @popsugarau)

The look: Twin Peaks Top ($220) with Sleep Awhile Skirt in blush ($220) 

The look: Under the Sky overalls ($280) with A Change From Top in white ($260)

The look: Ends of a Circle Pants ($240), Tinker Top White ($160) and Forever Jacket in black ($390)

Finally my favourite look: the Us and Them Skirt ($280) with the Learning to Fly Top $240. (Image from Joy Hysteric Boutique via @alicemccall)

The rest of the Cruise Collection for 2014 is simply so stunning that it's difficult to choose what pieces to buy. Although the range has been designed to mix and match so you can tailor looks to suit you and survive our sweltering summer. 

Roos Abels and the problem with adolescent models

14-year-old Dutch model walking for Prada SS15

It was in the late 90s and early 2000s that ateliers became fixated on the idea of using waif-thin girls as their "fit models." Fit models are those who set the precedent for how designers will size their collections and during this time, the standards were beyond extreme. The greater the expectation from ateliers to covet toothpick models to showcase their collections, pressure across the industry to deliver intensified.

As there is a distinct hierarchy that governs the way the industry operates, there are a multitude of issues that arise and from an onlookers perspective, tend to perpetuate an attitude that fashion is a ridiculous spectacle of distorted narcissism. At the top of this hierarchy is haute couture and its their vision that trickles down to ready-to-wear collections, editors, models and at the very bottom, consumers. Of course fashion is a business. An inexplicably powerful business at that. However, what needs to be considered when we think about how certain patterns, ideas and attitudes emerge, is this overarching hierarchy. 

Most people can appreciate how visually stunning haute couture shows are. The craftsmanship of couturiers are the closest demonstration of perfection - even in the finest detail complacency is totally absent. Yet there's more to couture than the clothing. It's the set, the atmosphere and the designer's vision that give the collections resonance. I've read countless reviews that describe these shows as "magical", "intoxicating" and an industry favourite "ethereal". I argue that this is where the problems stir.  

I remember reading former VOGUE Australia editor-in-chief Kirstie Clement's memoir The Vogue Factor and feeling deeply disturbed during the chapter Model Behaviour. She recalled, "There will also be various casting directors and stylists involved, who have a vision of the type of women they envisage wearing these clothes. For some bizarre reason, it seems they prefer her to be young, coltish, six-foot-tall and built like a prepubescent boy...They get so caught up in the hype of how brilliant clothes look on a size 4 they cannot see the inherent danger in the message." 

Before and after of Brazilian model Ana Carolina Reston circa 2004 when super thin models were in highest demand. Ana later died from health issues related to severe anorexia

Luckily since then, VOGUE U.S. editor-in-chief has headed a campaign to ban the use of models under the age of 16 in editorials and models suffering from eating disorders. Yet when we see 14-year-old Dutch newcomer Roos Abel storming the runway for Prada and Giambattista Valli, we have to wonder what sort of pressure this puts on editors when the sample sizes from these collections are given to the press to fit on models whose bodies have matured and filled out. Suddenly, I am reminded of the horrific practices of waist-training in the early 20th century...

There's no doubt that Roos Abels is stunningly beautiful and admittedly, her face holds a maturity beyond the average 14-year-old girl, but is it necessary to cultivate her talent at such a young age? When models are scouted during early adolescence, perhaps it would be better for agencies to cast them aside until they reach 16 (in my opinion, I believe even that is pushing the boundaries). 

It's deluded that fashion is aimed towards grown women, yet the aspirational figure for wearing these garments belong to the body of a child.  

Intuition: JETS SS14 Collection at VOGUE Fashion's Night Out

Photo via Charlotte Howell @ The Arctic Wolf

A couple of weeks ago I was invited to attend the JETS SS14 Parade at the annual VOGUE Fashion's Night Out in Sydney. Tragically it fell on the date I was faced with a gargantuan media law exam, so I felt a little bit like Cinderella without a fairy godmother. Luckily I still got to have a peak at some snaps from the show, just in time for stirring inspiration for a balmy Queensland summer. The event showcased 16 designs and was accompanied by a Q&A with VOGUE Australia's editor-in-chief Edwina McCann and JETS chief designer Jessika Allen.

It's the inescapable, searing Australian climate that leads me to fervently believe that we boast some of the most dynamic and eclectic swimwear brands in international fashion. JETS exceeds what you might come to expect when buying a new swimsuit. It's a brand that an encompasses an entire culture of sun-drenched summers spent at the beach. 

Perhaps it was the fact Jessika Allen spent her post-grad in Milan studying tailoring, because her collections always seem to emulate a renowned sense of Italian glamour. 

'Intuition', the SS14 line is no different. It combines my two most cherished style staples: monochrome and well-executed tailoring. Waves of colour and bold prints also made it into the mix as statement pieces. A little twist to this season's collection was of course the addition of men's swimwear inspired by the European boy-leg style trunks. 

There's also a lot to be said for the different silhouettes scattered throughout the collection. There's a commingling of classic glamour, minimalism and retro pin-up with striking patterns and exuberant florals. Apparently it was 80s bodysuits that inspired Jessika Allen to use stretch fabric for designers, a move which means JETS swimwear fits us ladies according the natural shape of our curves - hallelujah! 

You can shop JETS here and take an exclusive look at the VFNO Parade and the Q&A with Edwina McCann and Jessika Allen. 

Bonobos Fall 2014 Mens Suit Collection

With menswear becoming a more prevalent entity in the realm of fashion and luxury design, I couldn't be more excited for SILK AND MONEY to team up with Bonobos, one of America's most revered brands for accessible and luxurious menswear. 

It was Ryan Gosling's character in Crazy, Stupid Love who made me reaffirm my appreciation for classic tailoring, reminiscent of London's Savile Row and quite bluntly reminded us that wearing the wrong suit size is a man's most crucial style faux pas. Fear not though, Bonobos' Fall Suit Collection embodies everything a man should look for when buying a new suit. 

For the traditionalists, there's the Foundation suit - a Bonobos classic made using their signature Italian wool. With a few little tweaks, this Fall's latest line features new fabrics and a more detailed, sleek interior including an ergonomic hidden pocket to make "grabbing that business card as smooth as your first impression". For a modern twist, try the Foundation in navy. As Bonobos is centered in New York - the coolest city in the world, which is about to get a whole lot cooler with Fall around the corner - add an extra layer of warmth and a touch of sophistication with a vest underneath or a topcoat to rug up.

Although there's nothing wrong with sticking to tradition, it's the range of wool suits and tweed blazers that make this collection exquisite. The Nottingham Blazer is the quintessential item for quirky creatives who want to add a touch of sophistication to business drinks or a meeting with the boss. 

Finally, unless you're royalty or a film star, there are only a handful of occasions for a man to up the ante and don a tuxedo so you might as well exceed expectations and defy the norm. A slim fit tuxedo always looks sleek and luxurious and the standout for me in this collection is The Capstone in Grey Honeycomb.  

What I love about Bonobos is that they cater to every kind of man. Whether he's an introvert or an extrovert, a slick professional or a wandering artist - there's something in their collection for every man that is made to fit. 

Here are some exclusive photos from the Bonobos Fall 2014 Mens Suit Collection Lookbook, completely evocative of that crisp Autumnal feel. 

One thing is for sure, this collection's resonance is more than just seasonal.

The #CastMeMarc campaign is actually not that iconic

Images via Style.com

By now the world has caught a glimpse of the latest Marc by Marc Jacobs campaign, whereby Katie Grand and Marc Jacobs himself trawled Instagram for models using the hashtag #CastMeMarc.

Inevitably, the response reached an overwhelming 70,000 and beyond and from that 9 have become the new faces of Marc by Marc Jacobs, a brand that cultivates luxury streetwear (I really hate coining wanky terms like that, but in essence, that's what a $350 sweatshirt is). 

Talking to WWD, Jacobs reportedly spoke about his motives for kicking models to the curb in favour of Instagram's untapped crop: 

“It seemed like a great idea to me, as casting through Instagram seemed cool, current, and strong,” Jacobs said. “We wanted the ads to shout with youth and energy…to be fresh and reclaim the spirit that the collection had when we first conceived it — to be another collection, not a second line.” (via Style.com)

Marc Jacobs is someone obsessed with popular culture and the chokehold it has over society as a collective. In the digital age, social media is everything and apps like Instagram make this all the more transparent. For me, Instagram is a very explicit means of visual communication and it talks a lot about identity, legitimate or otherwise; it speaks of narcissism and insecurity in equal measure; it screams of self-publication and self-censorship. 

This is what is what makes the idea of the #CastMeMarc campaign so interesting, with infinite potential to encapsulate the here and now, before it's been and gone. Truth be told, I do love this campaign in part. It is strong, it is rambunctious and it represents the sorts of conjured personas you might happen to stumble across on Instagram. 

However, when I read Marc's interview with WWD further, one line struck me with a certain sense of poignancy; talking of his hand picked models, he described them as "a cast of colourful and dynamic characters". 

I had to stop and ask the question: "Really?" 

The campaign, regardless of all of its merits, features one Asian female and one black male. Reflective of the entire fashion industry, it is dominated by white models. It occurred to me that it doesn't matter to designers whether or not they're booking models from agencies or scrolling through Instagram for fresh faces, the same attitudes towards race and representation that remain rife throughout the industry are still apparent.

Suddenly the campaign I had been so excited about began to dull a little. Speaking as a white woman about these issues in the industry is kind of tentative but nonetheless, they need to be talked about. I'm not alone when I say that although I am irrevocably passionate about pursuing my career in fashion journalism, I am always discouraged about stepping further when questions of ethics come into play. Fashion has the ability to refute normative social values about race, gender, class, structural violence - need I go on? 

Designers like Alexander McQueen have done so in the past. One of McQueen's first collections is seared into the minds of fashion critics forever as one of the most shocking and disturbing collections ever shown. Highland Rape featured models who were sent down the runway looking battered and bruised, with torn clothing exposing their breasts. Although the collection is said to have been a reflection of England's dominance over Scotland, it began to generate discussion about misogyny and the subordination of women - conversations that are incredibly important to keep circulating and building upon. 

Alexander McQueen's AW 1995 collection: Highland Rape (via Wordpress)

Comparatively, it's what makes the #CastMeMarc campaign a little lacklustre. Granted, it will draw attention to the brand and Marc by Marc Jacobs will probably continue to grow into one of the most revered diffusion lines in the world, but retrospectively, it fell short of the mark in challenging some of the really tiresome attitudes in the industry. I've posted before about the how women of colour are extremely underrepresented on the runway and in campaigns, but it doesn't end there. What about the representation of transgender women? Of disabled women? It's time for the industry to stop being so exclusive.

We need to talk about Vogue Black

Garage Magazine's editor-in-chief Dasha Zhukova posing in a deeply disturbing editorial

Truth be told, I believe that certain entities that hold an elite status within the fashion industry do so with such force and extravagance that when we question matters of morality and ethics, they're brushed under the carpet with the manufactured response that "it's fashion - don't take it so seriously!"

In retrospect though, when we consider a multi-billion dollar industry that yields the power to control peoples livelihoods and identities, how is this good enough? The issue of underrepresentation of ethnicities in editorials in magazines such as Vogue are not merely an oversight during the process of creative expression - oftentimes they are visual representations of archaic and deep-rooted themes of segregation and racism engrained in the industry's psyche. 

Let's talk about Vogue Black. A section of Vogue Italia's website launched in 2010, it quite crudely consists of news coverage, street style, celebrity culture and editorial content pertaining to the black contingent of the industry. When we consider that Vogue Italia's editor-in-chief Franca Sozzani, who has been burned before for crossing the threshold of racial insensitivity, it strikes me as absurd that Vogue Black is being heralded as a triumph and a celebration of black people.

Do we need to segregate black models from white models, black celebrities from white celebrities and black journalists from white journalists to actually acknowledge the style, beauty and talent of people who aren't white? Further still, there are a myriad of ethnicities out there who are being excluded by Vogue Italia in this pseudo-celebration of racial diversity in fashion - if you think that such a thing exists at this point, look a little closer. 

The runway shows that models of different ethnicities are being hugely underrepresented by designers who hand pick women to wear their designs during castings.

Images credited to Jezebel

The reality of this is incredibly distressing and I know that I not only speak for myself when I say it's also incredibly disheartening for those who are aspiring to work in an industry that is inherently racist. I think if we understand better that with the sort of elitism of juggernauts such as Vogue also comes a great deal of exclusion and bigotry, the more we should become aware of the ethical issues that are raised in their editorial decisions and not become so passive when we're told not to take fashion too seriously.